September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
September 6, 2024 Venice Film Fest 2024 Review: Brothers Bound to Duty Can’t Abide One Another in Türker Süer’s Tense “Edge of Night”
September 5, 2024 TIFF 2024 Interview: Mick Robertson and Margaret Rose on the Tensions in Between “Every Other Weekend”
September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
September 6, 2024 Venice Film Fest 2024 Review: Brothers Bound to Duty Can’t Abide One Another in Türker Süer’s Tense “Edge of Night”
September 5, 2024 TIFF 2024 Interview: Mick Robertson and Margaret Rose on the Tensions in Between “Every Other Weekend”
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”