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”
September 18, 2023 TIFF 2023 Interview: Axel Petersén and Joel Spira on Making a Different Kind of Getaway in “Shame on Dry Land”
September 16, 2023 TIFF 2023 Review: The Echoes of Nature Reverberate in Margreth Olin’s Sensational “Songs of Earth”
September 16, 2023 TIFF 2023 Interview: Alain Parroni on Looking Towards Tomorrow in “An Endless Sunday”
September 15, 2023 TIFF 2023 Interview: Mahalia Belo on a Special Delivery in “The End We Start From”
September 15, 2023 TIFF 2023 Interview: Hiam Abbass and Lina Soualem on Placing Memories in “Bye Bye Tiberias”
September 13, 2023 TIFF 2023 Review: “Widow Cliquot” Offers a Bubbly Portrait of a Woman with Champagne Problems
September 12, 2023 TIFF 2023 Review: A Sea Change Comes to a Protected Island in Christian Sparkes’ “King Tide”
