May 22, 2025 Laura Piani and Camille Rutherford on Authoring Their Own Love Story in “Jane Austen Wrecked My Life”
May 22, 2025 Cannes 2025 Review: History is Left Up to Chance in Mateo Zoppis and Alessio Rigo de Righi’s Playful and Poignant “Heads or Tails?”
May 21, 2025 Cannes 2025 Review: Where There’s a Wheel, There’s a Way in Lloyd Lee Choi’s Splendid “Lucky Lu”
May 22, 2025 Laura Piani and Camille Rutherford on Authoring Their Own Love Story in “Jane Austen Wrecked My Life”
May 22, 2025 Cannes 2025 Review: History is Left Up to Chance in Mateo Zoppis and Alessio Rigo de Righi’s Playful and Poignant “Heads or Tails?”
May 21, 2025 Cannes 2025 Review: Where There’s a Wheel, There’s a Way in Lloyd Lee Choi’s Splendid “Lucky Lu”
September 15, 2020 TIFF 2020 Review: Nature is a Real Beast in Madeline Sims-Fewer & Dusty Mancinelli’s “Violation”
September 14, 2020 TIFF 2020 Review: “76 Days” Powerfully Puts the COVID-19 Crisis in a Human Context
September 14, 2020 TIFF 2020 Interview: Sasha Leigh Henry on Building a Strong Vessel for a Difficult Conversation in “Sinking Ship”
September 14, 2020 TIFF 2020 Interview: Hannah Cheesman on Revealing the Complexities of a Female Friendship Hiding in Plain Sight in “Succor”
September 13, 2020 TIFF 2020 Interview: J Blakeson on Taking Great Pains to Make the Wildly Entertaining “I Care a Lot”
September 13, 2020 TIFF 2020 Interview: Charles Officer, Saul Williams and Thamela Mpumlwana on Working Through the Layers of “Akilla’s Escape”
September 12, 2020 TIFF 2020 Interview: Argyris Papadimitropoulos on Giving Audiences Something to Look Forward To in “Monday”
September 10, 2020 TIFF 2020 Review: An Arrest Leads to Paralyzing Questions About the Reasons Behind It in Sonia Kennebeck’s Gripping “Enemies of the State”
