November 18, 2024 DOC NYC 2024 Interview: Emily Mkrtichian on a Memory That Can’t Be Taken Away in “There Was, There Was Not”
November 18, 2024 DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling
November 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
November 18, 2024 DOC NYC 2024 Interview: Emily Mkrtichian on a Memory That Can’t Be Taken Away in “There Was, There Was Not”
November 18, 2024 DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling
November 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
July 14, 2023 Composer Kathryn Bostic on Making Silents Golden with “The Flying Ace” and “Something Good – Negro Kiss”
December 14, 2022 How Alice Rohrwacher Fashioned a Christmas Tale That Takes the Cake in “Le Pupille”
December 13, 2022 A Cut Above: How Mark Pellington Went a Little Further to Finally Be Satisfied with “Going All the Way”
May 31, 2022 “All My Work is the Desire to Live Fully, To Grab it and to Swallow Life”: Mira Nair on a Career Showing the Unseen
April 11, 2022 Reclaiming Reality: Mario Van Peebles on Reimagining a City and an Industry in “New Jack City”
February 21, 2022 Joachim Trier on “The Worst Person in the World” Epilogue, Freezing Oslo in Time and More with Paul Thomas Anderson
December 28, 2021 A Resolution Comes True: The Making of “Get Crazy,” the Ultimate New Year’s Movie and Its Wild Restoration
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