September 18, 2024 TIFF 2024 Review: History’s Embrace May Be a Little Too Tight for Comfort in Sofia Bohdanowicz’s Exquisite “Measures for a Funeral”
September 17, 2024 TIFF 2024 Interview: Milad Tangshir and Ibrahima Sambou on Legging Out a Life in “Anywhere Anytime”
September 16, 2024 TIFF 2024 Review: Dea Kulumbegashvili Finds a Strong Way In to an Outside Operator in the Devastating “April”
September 18, 2024 TIFF 2024 Review: History’s Embrace May Be a Little Too Tight for Comfort in Sofia Bohdanowicz’s Exquisite “Measures for a Funeral”
September 17, 2024 TIFF 2024 Interview: Milad Tangshir and Ibrahima Sambou on Legging Out a Life in “Anywhere Anytime”
September 16, 2024 TIFF 2024 Review: Dea Kulumbegashvili Finds a Strong Way In to an Outside Operator in the Devastating “April”
September 10, 2023 TIFF 2023 Review: An Artist Spinning Their Wheels Leads to Success in Chris Wilcha’s “Flipside”
September 10, 2023 TIFF 2023 Review: “The Teacher” Outlines a Conflict That Leaves Everyone as Prisoners of War
September 10, 2023 TIFF 2023 Review: Chloe Robichaud’s “Days of Happiness” Brings a Sense of Satisfaction
September 9, 2023 TIFF 2023 Review: Azazel Jacobs’ “His Three Daughters” is an Irresistible Family Affair
September 8, 2023 TIFF 2023 Interview: Ivete Lucas and Patrick Bresnan on a Celebration of Life in “The Passing”
September 8, 2023 TIFF 2023 Review: “Green Border” Crisply Captures a Situation That’s Rough Around the Edges
September 7, 2023 TIFF 2023 Interview: Eva Thomas on Giving Herself the Greenlight to Make “Redlights”