September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
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”
September 5, 2024 TIFF 2024 Interview: Mick Robertson and Margaret Rose on the Tensions in Between “Every Other Weekend”
September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
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”
September 5, 2024 TIFF 2024 Interview: Mick Robertson and Margaret Rose on the Tensions in Between “Every Other Weekend”
July 15, 2021 Cannes 2021 Review: A Cartel Leaves a Community on Edge in Tatiana Huezo’s Absorbing “Prayers for the Stolen”
July 13, 2021 Cannes 2021 Review: The Present Takes On Unexplored Dimensions in Saul Williams and Anisia Uzeyman’s Wondrous “Neptune Frost”
July 12, 2021 Cannes 2021 Review: Anita Rocha da Silveira’s Subversive “Medusa” Sees Through Blind Faith
July 11, 2021 Cannes 2021 Interview: Antoneta Alamat Kusijanovic on Living at the Edge of the World in “Murina”
July 11, 2021 Cannes 2021 Review: A Legacy of Trauma is Passed Down in Kornél Mundruczó and Kata Wéber’s Powerful “Evolution”
July 11, 2021 Cannes 2021 Interview: Kira Kovalenko on Locating Family Dynamics in the Gripping “Unclenching the Fists”
July 11, 2021 Cannes 2021 Review: You’ll Come to Care About Julie Lecoustre and Emmanuel Marre’s “Zero Fucks Given”
July 10, 2021 Cannes 2021 Review: A Woman Risks Her Body to Save a Soul in Laura Samani’s Absorbing “Piccolo Corpo”
