Andrea Nix Fine and Sean Fine on Filling in the Emotional Details of the Day That Democracy Nearly Died on “The Sixth”
Cannes 2024 Review: Tyler Taormina’s “Christmas Eve at Miller’s Point” is a Gift That Keeps On Giving
Composer Kathryn Bostic on Making Silents Golden with “The Flying Ace” and “Something Good – Negro Kiss”
InterviewsTIFF·8 min readTIFF ’19 Interview: Oualid Mouaness on Fighting to Preserve a Childhood in “1982”
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”
InterviewsTIFF·8 min readTIFF ’19 Interview: Zaida Bergroth on the Seeds of Distrust That Grow in “Maria’s Paradise”
ReviewsTIFF·2 min readTIFF ’19 Review: A Slice of Serenity Cuts Through The Noise in Darius Marder’s “Sound of Metal”
ReviewsTIFF·2 min readTIFF ’19 Review: An Updated Greek Tragedy Hits Home No Matter Where You Live In Sophie Deraspe’s “Antigone”
InterviewsTIFF·8 min readTIFF ’19 Interview: Yehuda Nahari Halevi and Yaron Zilberman on Getting Inside the Mind of an Assassin in “Incitement”
ReviewsTIFF·2 min readTIFF ’19 Review: A Different Kind of Superhero Origin Story Has a Strong Foundation in “How to Build a Girl”
ReviewsTIFF·2 min readTIFF ’19 Review: Eva Mulvad Shows a Love That Truly Has No Name in “Love Child”
ReviewsTIFF·2 min readTIFF ’19 Review: There’s Something in the Water In Neasa Hardiman’s “Sea Fever”
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”