October 10, 2024 Cinematographer Nikolay Michaylov on Capturing the Pent-Up Desires in “Matt and Mara”
October 8, 2024 Beyond Fest 2024 Review: Galder Gatztelu-Urrutia’s “Rich Flu” Finds Value in Other Currencies Besides Cash
October 10, 2024 Cinematographer Nikolay Michaylov on Capturing the Pent-Up Desires in “Matt and Mara”
October 8, 2024 Beyond Fest 2024 Review: Galder Gatztelu-Urrutia’s “Rich Flu” Finds Value in Other Currencies Besides Cash
January 23, 2023 Sundance 2023 Interview: Rebecca Landsberry-Baker and Joe Peeler on a Righteous Fight for Freedom in “Bad Press”
January 23, 2023 Sundance 2023 Interview: Kayla Abuda Galang on the Homecoming of “When You Left Me on That Boulevard”
January 23, 2023 Sundance 2023 Interview: Liz Sargent on Learning to Let Go as a Form of Care in “Take Me Home”
January 23, 2023 Sundance 2023 Interview: Luis Fernando Puente on a Questionable Process in “I Have No Tears, and I Must Cry”
January 23, 2023 Sundance 2023 Review: A Larger Tragedy Emerges from a Disappearance in Erica Tremblay’s “Fancy Dance”
January 23, 2023 Sundance 2023 Review: Sebastian Silva’s “Rotting in the Sun” Finds a Director At His Best on His Worst Behavior
January 22, 2023 Sundance 2023 Review: “Going to Mars: The Nikki Giovanni Project” Has a Way With Words
January 21, 2023 Sundance 2023 Review: A Divided Land Creates a Conflicted Mind in the Emotionally Rich “Milisuthando”
January 21, 2023 Sundance 2023 Review: Noora Niasari’s “Shayda” Powerfully Outlines a Prison Without Bars
January 21, 2023 Sundance 2023 Review: “Aum: The Cult at the End of the World” Compelllingly Chronicles a Cultural Catastrophe
