Though Guillermo del Toro’s 1997 American studio debut Mimic was a notoriously unpleasant experience, the silver lining of ...
High in the Pyrenees, a centuries-old way of life approaches its twilight amid a controversial rewilding scheme. France’s ...
If last year’s Maryland Film Festival felt like a trial run for a new era of Baltimore’s cornerstone film event, the 26th ...
Mario Patrocínio’s Maria Vitória is the writer-director’s first narrative feature, but it brings the chops of his documentary ...
“Her Archive Was Kind of a Trail… A Filmmaker’s Trail”: Alan Berliner on his DOC NYC-debuting BENITA
Benita may not have left a note when she took her life, but her archive was a kind of trail — what I call a “filmmaker’s ...
Andres Veiel’s “Riefenstahl” is an arresting and deeply disturbing all-archival portrait of the titular Third Reich ...
In 2021, the Tokyo International Film Festival decided to leap out of mediocrity. It was, acquaintances told me, previously ...
The nonprofit Sundance Institute today announced in a press release details for the 2026 Sundance Film Festival’s annual ...
Documentary filmmaker Lynn Sachs on her latest, “Every Contact Leaves a Trace,” in which she remembers seven life-altering encounters.
Writer-director Avalon Fast discusses her sophomore feature CAMP, which centers on a group of “gorgeous misfits” working at a Canadian summer camp.
Since premiering at the Berlin International Film Festival in February, Butter on the Latch and Thou Wast Mild & Lovely, the remarkably assured debut feature-length films from Josephine Decker (one of ...
In the 1999 mini-series Storm of the Century, a malevolent stranger (played by noted Canadian Colm Feore) shows up outside Stephen King’s longtime fictional community of Castle Rock and repeatedly ...
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