May 21, 2026 Cannes 2026 Review: Laïla Marrakchi’s Moving Drama “Strawberries” Exposes the Bitter Seeds of an Inequitable System
May 20, 2026 Cannes 2026 Review: The Consciousness of a Tragedy Takes Shape in Fascinating Ways in Bruno Santamaria Razo’s Brilliant “Six Months in a Pink and Blue Building”
May 20, 2026 Cannes 2026 Review: “Dernsie: The Amazing Life of Bruce Dern” Finally Casts an Actor in the Right Light
May 20, 2026 Cannes 2026 Review: Jorge Thielen Armand’s “Death Has No Master” Eerily Brings the Stain of a Colonial Past Into the Present
May 21, 2026 Cannes 2026 Review: Laïla Marrakchi’s Moving Drama “Strawberries” Exposes the Bitter Seeds of an Inequitable System
May 20, 2026 Cannes 2026 Review: The Consciousness of a Tragedy Takes Shape in Fascinating Ways in Bruno Santamaria Razo’s Brilliant “Six Months in a Pink and Blue Building”
May 20, 2026 Cannes 2026 Review: “Dernsie: The Amazing Life of Bruce Dern” Finally Casts an Actor in the Right Light
May 20, 2026 Cannes 2026 Review: Jorge Thielen Armand’s “Death Has No Master” Eerily Brings the Stain of a Colonial Past Into the Present
June 26, 2022 Tribeca 2022 Review: “Lowndes County and the Road to Black Power” Illuminates the Importance of the Vote in the Deep South
October 22, 2021 Rachel Boynton on Raising a Key Question of Our Times in “Civil War (Or, Who Do We Think We Are)”
January 15, 2021 Interview: Sam Pollard on Recounting History In a Way It Won’t Have to Repeat Itself in “MLK/FBI”
September 21, 2020 New York Film Fest 2020 Review: “MLK/FBI” Interrogates and Demonstrates the Great Power of Images
September 8, 2017 TIFF ’17 Interview: Sam Pollard on a Man of Many Talents in “Sammy Davis Jr.: I’ve Gotta Be Me”
