February 23, 2026 Berlinale 2026 Review: Alisa Kovalenko & Marysia Nikitiuk’s “Traces” Leaves a Strong Impression of an Underexamined Aspect of War
February 22, 2026 Slamdance 2026 Review: A Community Tries to Stay on Track in the Wake of a Train Derailment in Ori Segev and Noah Dixon’s Striking Portrait “The Bulldogs”
February 23, 2026 Berlinale 2026 Review: Alisa Kovalenko & Marysia Nikitiuk’s “Traces” Leaves a Strong Impression of an Underexamined Aspect of War
February 22, 2026 Slamdance 2026 Review: A Community Tries to Stay on Track in the Wake of a Train Derailment in Ori Segev and Noah Dixon’s Striking Portrait “The Bulldogs”
March 31, 2024 SXSW 2024 Interview: Jeff Dupre on Finding the Right Notes for “This is a Film About the Black Keys”
March 31, 2024 SXSW 2024 Interview: Kate Dumke and Sabrine Keane on the Right to Information in “Preconceived”
March 25, 2024 SXSW 2024 Review: “Dory Previn: On My Way to Where” Charts the Journey of a Musician Who Brought Together Different Tracks
March 25, 2024 SXSW 2024 Review: Katie Mathews’ “Roleplay” Sets the Stage for Candid Conversations About Consent
March 19, 2024 SXSW 2024 Review: The Birds and the Bees Take Flight for a New Generation in Sara Zandieh’s Zesty “Doin’ It”
March 15, 2024 SXSW 2024 Review: Shaun Seneviratne’s “Ben and Suzanne: A Reunion in 4 Parts” is a Sensational Throwback to the Heyday of Indie Rom Coms
March 11, 2024 SXSW 2024 Interview: Jonathan Ignatius Green on A Crime That Defies Reality in “Dickweed”
March 11, 2024 SXSW 2024 Interview: Carina Mia Wong and Alex Simmons on Capturing Kids Finding Their Way in “We Can Be Heroes”
