July 10, 2026 David Wain and Ken Marino on the Method Behind the Madness of “Gail Daughtry and the Celebrity Sex Pass”
July 10, 2026 David Wain and Ken Marino on the Method Behind the Madness of “Gail Daughtry and the Celebrity Sex Pass”
September 6, 2025 Venice Film Fest 2025 Review: Perspectives on a Divorce Are Elegantly Brought Together in “L’Isola Di Andrea (Andrea’s Island)”
September 3, 2025 Venice Film Fest 2025 Review: Suzannah Mirghani’s “Cotton Queen” Cleverly Picks Apart a Tradition-Bound Culture’s Strides Towards the Future
September 3, 2025 Venice Film Fest 2025 Review: A Legendary Documentarian Wonders If His Films Were a Myth in the Thought-Provoking “Remake”
September 2, 2025 Venice Film Fest 2025 Interview: Shehrezad Maher on Tackling a Tortured History Without Letting It Get Too Dark in “The Curfew”
September 1, 2025 Venice Film Fest 2025 Review: Akio Fujimoto’s Harrowing Migration Tale “Hara Watan (Lost Land)” Breaks New Ground
September 1, 2025 Venice Film Fest 2025 Review: Alexandre O. Philippe’s “Kim Novak’s Vertigo” Allows an Actress to Step Out of the Shadows
August 31, 2025 Venice Film Fest 2025 Review: Cyril Aris’ Defiantly Fantastical “A Sad and Beautiful World” Takes the Romantic View Towards a Country in Constant Conflict
August 30, 2025 Venice Film Fest 2025 Review: Paolo Strippoli’s “The Holy Boy” Finds Healing is the Most Difficult Superpower to Get Ahold Of
August 30, 2025 Venice Film Fest 2025 Review: Mads Mikkelsen and Nikolaj Lie Kaas Slay in Anders Thomas Jensen’s Surreal Comedy “The Last Viking”
August 30, 2025 Venice Film Fest 2025 Review: A War Shapes a Childhood in Nastia Korkia’s “Short Summer”
August 29, 2025 Venice Film Fest 2025 Review: Tamara Kotevska’s “The Tale of Silyan” Redefines a Flight or Fight Response
August 27, 2025 Venice Film Fest 2025 Review: Godliness Doesn’t Come Cleanly in Teona Strugar Mitevska’s Proudly Rebellious “Mother”
