Josh Lambert, Yvonne Lambert and Toto Miranda of The Octopus Project on Bringing Out the Beauty of Bigfoot in “Sasquatch Sunset”
SXSW 2024 Review: “Dory Previn: On My Way to Where” Charts the Journey of a Musician Who Brought Together Different Tracks
Composer Kathryn Bostic on Making Silents Golden with “The Flying Ace” and “Something Good – Negro Kiss”
InterviewsTIFF·6 min readTIFF ’19 Interview: Chloé Robichaud on Finding Her Way Inside the Tale of an Outsider in “Delphine”
InterviewsTIFF·8 min readTIFF ’19 Interview: Oualid Mouaness on Fighting to Preserve a Childhood in “1982”
ReviewsTIFF·2 min readTIFF ’19 Review: An Updated Greek Tragedy Hits Home No Matter Where You Live In Sophie Deraspe’s “Antigone”
ReviewsTIFF·2 min readTIFF ’19 Review: There’s Something in the Water In Neasa Hardiman’s “Sea Fever”
ReviewsTIFF·2 min readTIFF ’19 Review: Eva Mulvad Shows a Love That Truly Has No Name in “Love Child”
InterviewsTIFF·7 min readTIFF ’19 Interview: Sofia Banzhaf on the Wilderness of the Dating Scene in “I Am in the World As Free and Slender as a Deer on a Plain”
ReviewsTIFF·2 min readTIFF ‘19 Review: A Cooperative Unravels in Grímur Hákonarson’s Very Agreeable “The County”
InterviewsTIFF·11 min readTIFF ’19 Interview: Odessa Young and David Raboy on Working Towards Something Major with “The Giant”
Film NewsTo Live and Screen in L.A.·3 min readJoe Carnahan Talks About the Alternate Ending He Shot For “The Grey”
Interviews·7 min readInterview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”