Film Festivals
In this Tribeca Film Festival Round-up, Stephanie Archer looks at the films she saw that found that dominated their central focus and inspiration in oppression, fear and freedom.
Stephanie Archer explores the live action short films that played at Tribeca Film Festival!
Kristy Strouse explored some of the VR experiences on offer at Tribeca Film Festival; here are her reviews of: Campfire Creepers: Midnight March, The Dinner Party, Biidaaban and Into the Now.
Straight from Tribeca Film Festival, Lee Jutton two films; both are the feature directorial debuts of talented women filmmakers and both center on complicated women trying to come to terms with tragedies in their pasts.
The Party’s Just Beginning isn’t always fun, but it’s definitely a powerful vehicle for the very talented Karen Gillan.
Arlin Golden does a roundup for his second week at San Francisco International Film Festival, including Bo Burnham’s Eighth Grade, Boots Riley’s Sorry to Bother You, lesser-known documentaries, and more.
Field Guide to Evil will likely please genre aficionados and horror buffs, but on the whole, its lack of tonal cohesion will leave others underwhelmed.
In our report of week 1 of San Francisco International Film Festival, we cover films like Generation Wealth, City of Sun, First Reformed, Hal and many more!
Alex Arabian spoke with Jason Sudeikis on the red carpet of upcoming Netflix film Kodachrome at San Francisco International Film Festival, about working with Ed Harris, Elizabeth Olson and director Mark Raso.
We sat down with documentary producers Yvonne Huff Lee and Jason Delane Lee of the Lagralane Group and chatted about their journey into film finance, their favorite past productions, what they have coming up next.
It was absolutely inspiring to see so much strong female content at SXSW Conference and Festivals, and Family, the debut feature by Laura Steinel, was no exception.
We were able to talk with Marja-Lewis Ryan, Samantha Housman and Ross M. Dinerstein, the director and producers of the Netflix drama 6 Balloons.
Relying heavily on the personal over the historical, 1985 is a gripping reminder that the social drama need not be loud and tumultuous for it to be effective.
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
The narrative debut of director Miranda Bailey, You Can Choose Your Family, is a misjudged dark comedy that earns enough goodwill through the committed performances from its ensemble.