February 11, 2026 Sundance 2026 Review: The Real Journey Begins After Migration Ends in Itab Azzam and Jack MacInnes’ Compelling “One in a Million”
February 11, 2026 Sundance 2026 Review: Hossein Keshavarz and Maryam Ataei’s “The Friend’s House is Here” Offers a Warm Welcome to a Place Artists Aren’t Often
February 9, 2026 Sundance 2026 Review: Judd Ehrlich’s “Jane Elliott Against the World” Demonstrates the Power of Persistence
February 11, 2026 Sundance 2026 Review: The Real Journey Begins After Migration Ends in Itab Azzam and Jack MacInnes’ Compelling “One in a Million”
February 11, 2026 Sundance 2026 Review: Hossein Keshavarz and Maryam Ataei’s “The Friend’s House is Here” Offers a Warm Welcome to a Place Artists Aren’t Often
February 9, 2026 Sundance 2026 Review: Judd Ehrlich’s “Jane Elliott Against the World” Demonstrates the Power of Persistence
March 6, 2023 True/False 2023 Review: A Chorus Rises for a Pop Star’s Political Ambitions in “Bobi Wine: The People’s President”
March 6, 2023 True/False 2023 Review: Silvia Del Carmen Castaños & Estefanía “Beba” Contreras’ “Hummingbirds” Sets the Mind Aflutter
March 4, 2023 True/False 2023 Review: A Habit Starts to Form in Elizabeth Mirzaei’s Breathtaking “Natalia”
March 4, 2023 True/False 2023 Review: “The Taste of Mango” Delivers a Powerful Love Letter from a Daughter to Her Mother
March 4, 2023 True/False Film Fest 2023 Review: A Village Thought to Be on Death’s Door Comes Alive in Maksym Melnyk’s “Three Women”
