January 27, 2026 Sundance 2026 Review: A Fragile Situation is Brought to Light in Liz Sargent’s Solid “Take Me Home”
January 26, 2026 Sundance 2026 Interview: Lily Platt on Being Addicted to the Drama in “Crisis Actor”
January 26, 2026 Sundance 2026 Review: Poh Si Teng’s Eye-Opening “American Doctor” is a Shock to the System
January 27, 2026 Sundance 2026 Review: A Fragile Situation is Brought to Light in Liz Sargent’s Solid “Take Me Home”
January 26, 2026 Sundance 2026 Interview: Lily Platt on Being Addicted to the Drama in “Crisis Actor”
January 26, 2026 Sundance 2026 Review: Poh Si Teng’s Eye-Opening “American Doctor” is a Shock to the System
June 26, 2022 Tribeca 2022 Review: “Lowndes County and the Road to Black Power” Illuminates the Importance of the Vote in the Deep South
June 20, 2022 Tribeca 2022 Review: The Thrill of the Chase Can Be Addictive in Daniel Antebi’s “God’s Time”
June 19, 2022 Tribeca 2022 Review: Signe Baumane’s “My Love Affair with Marriage” is a Truly Animated Affair
June 19, 2022 Tribeca 2022 Review: No Mourning is Allowed with Death on the Horizon in the Beautifully Bittersweet “Pink Moon”
June 19, 2022 Tribeca 2022 Review: A Safe Space Falls Apart Morally if Not Structurally in Natalia Sinelnikova’s “We Might as Well Be Dead”
June 16, 2022 Tribeca 2022 Interview: Beck Kitsis and Chris McNabb on Falling in Love Body and Soul in “Valentine”
June 15, 2022 Tribeca 2022 Review: “Of Medicine and Miracles” Brings the Excitement of a Scientific Breakthrough From the Inside Out
June 14, 2022 Interview: Jesse Short Bull and Laura Tomaselli on Covering Sacred Ground in “Lakota Nation Versus United States”
June 13, 2022 Tribeca 2022 Review: Rodrigo Reyes’ “Sansón and Me” Becomes a Sensational Living Document
