November 18, 2024 DOC NYC 2024 Interview: Emily Mkrtichian on a Memory That Can’t Be Taken Away in “There Was, There Was Not”
November 18, 2024 DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling
November 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
November 18, 2024 DOC NYC 2024 Interview: Emily Mkrtichian on a Memory That Can’t Be Taken Away in “There Was, There Was Not”
November 18, 2024 DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling
November 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
October 7, 2019 TIFF ’19 Review: A Different Kind of Superhero Origin Story Has a Strong Foundation in “How to Build a Girl”
October 6, 2019 TIFF ’19 Interview: Nick Rowland on Unleashing a Beast of a Thriller with “Shadow of Violence”
September 27, 2019 TIFF ’19 Interview: Deragh Campbell & Kazik Radwanski on Capturing Fresh Air in “Anne at 13,000 Ft.”
September 24, 2019 TIFF ’19 Interview: Zaida Bergroth on the Seeds of Distrust That Grow in “Maria’s Paradise”
September 23, 2019 TIFF ’19 Review: Time is the Great Equalizer in the Brilliant “The Obituary of Tunde Johnson”
September 20, 2019 TIFF ’19 Interview: Malgorzata Szumowska on Cottoning Up to a Cult in “The Other Lamb”
September 18, 2019 TIFF ’19 Interview: Adam Goodes, Dan Gordon and Stan Grant on Uniting for “The Australian Dream”
