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‘All of Us Strangers’ Review: A Delicately Ambiguous Re...

‘All of Us Strangers’ chooses, quite movingly, to look at loving as something st...

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Sundance 2024: Reflections on Transience, Rigidity, and...

Against a bigoted statewide backdrop, this year’s Sundance included some particu...

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Sundance 2024 Review: ‘Daughters’ Portrays the Devastat...

Daughters is essential viewing in its insistence that we sit with the pain, grie...

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Sundance 2024 Review: Sean Wang’s ‘Didi’ is An Ode to T...

Didi doesn’t soften the blows of early adolescence in the way many coming-of-age...

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Sundance 2024: ‘Black Box Diaries’ Exposes the Flaws In...

Black Box Diaries highlights that, as it currently stands, we will not find just...

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‘Immaculate’: A Seraphic Act of Autonomy

Sydney Sweeney's latest film doubles as an exploration of autonomy for both its ...

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‘La Chimera’ Review: A Dreamlike Fable of Grief and its...

Alice Rohrwacher’s continued exploration of magical realism is a visual feast fu...

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‘Riddle of Fire’: Weston Razooli’s Effortless Craft

'Riddle of Fire' is a nostalgia-charged celebration of childhood. Director Westo...

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Vera Drew’s ‘The People’s Joker’ Reminds Us What Vision...

“I was getting a little burnt out on telling other people’s stories. It was time...

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Interview with ‘The Feeling That The Time For Doing Som...

“I think that unfortunately in this day and age, people really don’t want to see...

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260. Côte d’Ivoire’s (Ivory Coast’s) film director Phil...

  “I don’t make a lot of films...I can only shoot what is essential to me” --Dir...

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261. US film directors Cathy Allyn’s and Nick Loeb’s fi...

 Roe v. Wade is a 2021 feature film that provides considerable insight from a pr...

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