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 14, 2024 Alexis Spraic and Prudence Fenton on Keeping the Creative Juices Flowing in “The World According to Allee Willis”
November 14, 2024 Nabil Ayouch on Putting Passion Into a Song of Resistance in “Everybody Loves Touda”
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 14, 2024 Alexis Spraic and Prudence Fenton on Keeping the Creative Juices Flowing in “The World According to Allee Willis”
November 14, 2024 Nabil Ayouch on Putting Passion Into a Song of Resistance in “Everybody Loves Touda”
June 15, 2022 Tribeca 2022 Review: “Of Medicine and Miracles” Brings the Excitement of a Scientific Breakthrough From the Inside Out
June 14, 2022 Interview: Jesse Short Bull and Laura Tomaselli on Covering Sacred Ground in “Lakota Nation Versus United States”
June 13, 2022 Tribeca 2022 Review: Rodrigo Reyes’ “Sansón and Me” Becomes a Sensational Living Document
June 13, 2022 Tribeca 2022 Review: Bryan Darling and Jesse Finley Reed’s “All Man: The International Male Story” is a Page-Turner
June 13, 2022 Tribeca 2022 Review: Ellie Foumbi’s “Our Father the Devil” Offers Something Juicy to Stew On
June 12, 2022 Tribeca 2022 Review: “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” is Note Perfect
June 12, 2022 Tribeca 2022 Review: Lovers on the Lam End Up in a Surprising Place in “Carol and Johnny”
June 12, 2022 Tribeca 2022 Interview: Alex Heller on Filling in Gaps of Perception in “The Year Between”
June 12, 2022 Tribeca 2022 Review: Money Makes the World Go Round in the Wild True Story “American Pain”
