October 18, 2026 Julia Loktev on Making Crucial Connections in “My Undesirable Friends Part II: Exile”
October 14, 2026 Susanne Rostock and Carmen Perez on Honoring a Legacy of Pushing for Social Progress in “Following Harry”
October 18, 2026 Julia Loktev on Making Crucial Connections in “My Undesirable Friends Part II: Exile”
October 14, 2026 Susanne Rostock and Carmen Perez on Honoring a Legacy of Pushing for Social Progress in “Following Harry”
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”
September 6, 2024 Venice Film Fest 2024 Review: Brothers Bound to Duty Can’t Abide One Another in Türker Süer’s Tense “Edge of Night”
