March 12, 2026 SXSW 2026 Interview: Benjamin de Menil and Frank Pavich on Following the Music in “Agridulce (Bittersweet)”
March 9, 2026 Carlos A. Gutierrez on 25 Years of Cinema Tropical and a Time of Validation for Latin American Film
March 8, 2026 True/False 2026 Review: Naveen Chaubal’s “Pinball” Yields an Unusually Moving Portrait of Resettlement
March 12, 2026 SXSW 2026 Interview: Benjamin de Menil and Frank Pavich on Following the Music in “Agridulce (Bittersweet)”
March 9, 2026 Carlos A. Gutierrez on 25 Years of Cinema Tropical and a Time of Validation for Latin American Film
March 8, 2026 True/False 2026 Review: Naveen Chaubal’s “Pinball” Yields an Unusually Moving Portrait of Resettlement
November 30, 2020 DOC NYC 2020 Review: Running a Jazz Haven Becomes Its Own Art in Oliver Murray’s “Ronnie’s”
November 30, 2020 DOC NYC 2020 Review: An Immigrant’s Tale Transcends Borders in Zach Ingrasci and Chris Temple’s “Five Years North”
November 16, 2020 DOC NYC 2020 Review: “Youth Vs Gov” Makes the Case for Taking Responsibility for Climate Change Outside Court
November 14, 2020 DOC NYC 2020 Interview: Maia Lekow and Christopher King on Delivering a Portrait of Strength in “The Letter”
November 13, 2020 DOC NYC 2020 Review: Baseball Becomes a Mind Game in Sami Khan and Michael Gassert’s “The Last Out”
November 13, 2020 DOC NYC 2020 Review: A Valuable Perspective on the Border Crisis is Found in “Missing in Brooks County”
November 11, 2020 DOC NYC 2020 Review: “Television Event” Captures the Weight of When the World Was Watching
November 11, 2020 DOC NYC 2020 Review: A Born Leader Comes to the Fore in Raquel Cepeda’s “La Madrina: The [Savage] Life of Lorine Padilla”
November 11, 2020 DOC NYC 2020 Review: A Son Goes to Great Ends to Keep His Mother Occupied in “Duty Free”
November 11, 2020 DOC NYC 2020 Review: An Unholy Alliance Emerges in Maya Zinshtein’s “Til Kingdom Come”
