January 28, 2025 Sundance 2025 Review: A Groundbreaking Iranian Politician Gets a Sharp Profile in Sara Khaki and Mohammad Reza Eyni’s “Cutting Through Rocks”
January 28, 2025 Sundance 2025 Review: Eva Victor Turns A Case of Writer’s Block Into a Powerhouse in “Sorry, Baby”
January 27, 2025 Sundance 2025 Interview: Laura Casabé on Testing the Waters in “The Virgin of the Quarry Lake”
January 28, 2025 Sundance 2025 Review: A Groundbreaking Iranian Politician Gets a Sharp Profile in Sara Khaki and Mohammad Reza Eyni’s “Cutting Through Rocks”
January 28, 2025 Sundance 2025 Review: Eva Victor Turns A Case of Writer’s Block Into a Powerhouse in “Sorry, Baby”
January 27, 2025 Sundance 2025 Interview: Laura Casabé on Testing the Waters in “The Virgin of the Quarry Lake”
June 13, 2022 Tribeca 2022 Review: Bryan Darling and Jesse Finley Reed’s “All Man: The International Male Story” is a Page-Turner
June 13, 2022 Tribeca 2022 Review: Ellie Foumbi’s “Our Father the Devil” Offers Something Juicy to Stew On
June 12, 2022 Tribeca 2022 Review: “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” is Note Perfect
June 12, 2022 Tribeca 2022 Review: Lovers on the Lam End Up in a Surprising Place in “Carol and Johnny”
June 12, 2022 Tribeca 2022 Interview: Alex Heller on Filling in Gaps of Perception in “The Year Between”
June 12, 2022 Tribeca 2022 Review: Money Makes the World Go Round in the Wild True Story “American Pain”
June 11, 2022 Tribeca 2022 Review: “Subject” Offers Some Hard Objective Truths About Participating in Docs
June 11, 2022 Tribeca 2022 Review: An Aspiring Filmmaker Awaits What a New Year Will Bring in “January”
June 11, 2022 Tribeca 2022 Review: A Safe Haven Can’t Escape the Issues of Society at Large in “Naked Gardens”
June 11, 2022 Tribeca 2022 Interview: Elena Francesca Engel on Setting the Stage for Talking About Prison Reform in “John Leguizamo Live at Rikers”
June 10, 2022 Tribeca 2022 Review: “Liquor Store Dreams” Exquisitely Brings the Long View of Immigrants Into Focus
June 10, 2022 Tribeca 2022 Review: Jon Kasbe and Crystal Moselle’s “Sophia” Charts a Feat of Human Engineering, For Better or Worse
