Film Festivals
Jenny Pen is a cold-eyed excavation of one of the basest fears humanity possesses: That life, in all its triumphs, is a meaningless house of cards.
Like any good exploitation movie Exorcismo feels like a pleasant discovery for a genre buff, a treat from the back of the video store.
Generation Terror proves a refreshing revitalization of the nuances under all the blood and guts, as well as the guts themselves.
Witches starts off like a video essay. Writer, director, editor (and “star”) Elizabeth Sankey talks…
Certain filmmakers are such mainstays of the New York Film Festival that you can pretty…
As in all his work, McQueen coaxes strong performances, with particular props to first-timers (at very different ages) Heffernan and Weller.
At this year’s NYFF, we take a look at two films from emerging female filmmakers that were some of the highlights of this year.
We spoke with Johnny Ma whose film The Mother and the Bear is a vibrant and unique film that points toward the evolving versatility of Canadian filmmakers.
If you somehow need more proof that artificial intelligence cannot rival the humanity needed to create great art, all you need to do is watch Anora.
Wilson Kwong spoke with writer Blessing Uzzi and director Afolabi Olalekan about their film Freedom Way and its powerful story on police brutality.
Film Inquiry soke with director Sook-Yin Lee really for the TIFF film Paying For it.
The Toronto International Film Festival brought quite the number of horror films this year. Kevin L. Lee reviews Heretic, Presence and Hold Your Breath.
Samir Oliveros spoke to Film Inquiry about his latest film The Luckiest Man in America.
Film Inquiry spoke with Edward Berger, director of Conclave, for the Toronto International Film Festival.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.