The Moveable Fest
The Moveable Fest
  • Interviews
    Interviews

    Eskil Vogt on What Leads to Bad Behavior in “The Innocents”

    Naveen A. Chathapuram on a Game of Survival in “The Last Victim”

    Mei Makino on Standing Out with “Inbetween Girl”

  • Reviews
    Reviews

    How the Other Half Lives: On Gaspar Noé’s Provocative Act of Compassion in “Vortex” and “Lux Æterna”

    Hot Docs 2022 Review: The Power of a Family Secret Shifts from the Keepers to Those Willing to Expose It in Jasmin Mara López’s “Silent Beauty”

    Hot Docs 2022 Review: A Murder Exposes a Web of Corruption in “The Killing of a Journalist”

  • The Mentaculist
    The Mentaculist
    Matt Damon in "Euro Trip"

    Matt Damon: A Career in Cameos

    Independence Day: My Street

    Five Movie Marketing Miscues That Blew Up in All the Wrong Ways

    Lucas Black and Nathalie Kelley in "Fast & Furious: Tokyo Drift"

    Justin Lin on “Tokyo Drift” and the Four Hours That Saved the
    “Fast & Furious” Franchise

  • Retrospective
    Retrospective

    Reclaiming Reality: Mario Van Peebles on Reimagining a City and an Industry in “New Jack City”

    Joachim Trier on “The Worst Person in the World” Epilogue, Freezing Oslo in Time and More with Paul Thomas Anderson

    A Resolution Comes True: The Making of “Get Crazy,” the Ultimate New Year’s Movie and Its Wild Restoration

  • Trending
    NowWeekMonth

    L.A. Asian Pacific Film Fest 2022 Interview: Judy Lei on Going Home for “The World’s Greatest”

    Edward Burns on Turning on the Charm in “Summer Days, Summer Nights”

    L.A. Asian Pacific Film Fest 2022 Interview: Deann Borshay Liem on Bridging the Divide in Perception Between North and South Korea in “Crossings”

    Sundance 2022 Interview: Jim Archer, David Earl and Chris Hayward on Putting It All Together for the Robot Comedy “Brian and Charles”

    Eskil Vogt on What Leads to Bad Behavior in “The Innocents”

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ReviewsTrue/False

True/False 2020 Review: Where There’s Smoke, There’s Fire in Marnie Ellen Hertzler’s Blazingly Original “Crestone”

Subhed: A generation accustomed to self-curating an identity online tries to apply those principles offline in this provocative and engaging consideration of how we construct reality.
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ReviewsTrue/False

True/False 2020 Review: A Relationship Grows Old, But Not Stale in “So Late So Soon”

Daniel Hymanson's moving portrait of the beauty that emerges from a 50-year marriage of convenience for a pair of inconvenient artists.
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ReviewsTrue/False

True/False 2020 Review: Even When the Top Official Has Little Control, “Mayor” Speaks With Authority

David Osit’s wily profile of Musa Hadid, the mayor of Ramallah, amuses and devastates in equal measure.
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ReviewsTrue/False

True/False 2020 Review: A Truly Radical Idea to Address Drug Addiction Takes Hold in Mia Donovan’s Gripping “Dope is Death”

This remarkable tale of how the Black Panthers and Young Lords solved the drug crisis in their community will put you on pins and needles.
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A scene from Roni Moore and James Blagden's "Midnight in Paris"
ReviewsTrue/False

True/False ’19 Review: James Blagden and Roni Moore Make “Midnight in Paris” a Prom Night to Remember

The big dance in Flint, Michigan takes on greater dimension in this wonderful documentary.
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Matej in Rok Bicek's "The Family"
ReviewsTrue/False

True/False ’18 Review: The Staggering Story of a Son Becoming a Father, Rok Biček Has It All in “The Family”

The ten-year study of a young Slovenian who becomes a father while he is still a teen brilliantly illustrates the families we create for ourselves and the ones we're born into.
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Chase Whiteside and Erick Stoll's "América"
ReviewsTrue/False

True/False ’18 Review: “América” Holds Up the Responsibilities of Caring for a Loved One to Light

Chase Whiteside and Erick Stoll's heartrending debut tells of three brothers showing grace under pressure when called upon to take care of their grandmother.
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A scene from La Flor De La Vida
ReviewsTrue/False

True/False ’18 Review: “La Flor De La Vida” Gets Better with Age

A lovely look at a 48-year marriage that has run out of romance.
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A scene from Leilah Weinraub's "Shakedown"
ReviewsTrue/False

True/False ’18 Review: “Shakedown” Strips Down to the Soul of a Community

A dive into a black lesbian strippers collective in Los Angeles goes more than skin deep.
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A scene from Khalik Allah's "Black Mother"
ReviewsTrue/False

True/False ’18 Review: Khalik Allah’s “Black Mother” Births a New Consciousness

A brilliant reconciliation of how to express the shared experience of a country and the individual perspectives of its diverse citizenry in an enthralling vision of Jamaica.
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Yance Ford in "Strong Island"
InterviewsTrue/False

True/False ’18 Interview: Director of Photography Alan Jacobsen on Having a Vision for “Strong Island”

On devising a camera set-up that would put an interview subject at ease when talking about one of the most painful moments in his life - who happens to be the director of the film.
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Film NewsTo Live and Screen in L.A.

Joe Carnahan Talks About the Alternate Ending He Shot For “The Grey”

Mildred Loving, Peggy Loving and Richard Loving in "The Loving Story"
Interviews

Interview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”

The Mentaculist

Playing God: 13 Actors Who Dared To Be the Deity in Movies

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