Early in Daniel Roher’s alarming and essential documentary Navalny, Russian opposition leader Alexei Navalny sits in Germany, having recovered from being poiso...
The much-anticipated follow-up to her excellent documentary Coded Bias, Shalini Kantayya’s TikTok, Boom. doesn’t quite know what to make of the addicting viral...
Tonally disjointed but at times hilarious, Adamma Ebo’s feature adaptation of her popular short seems to have taken a misguided shape. This religious satire th...
In her most personal and intimate film, master documentarian Ondi Timoner (We Live in Public, Cool It, Dig) turns an intended family tribute for a virtual memo...
A comedy of (bad) manners, Monia Chokri's Babysitter plays with myriad interesting themes, ranging from toxic masculinity to post-postpartum depression but ult...
Shedding light on the life of the Korean-American cause cél`èbe, Julie Ha and Eugene Yi’s Free Chol Soo Lee captures a unique moment in Asian American history ...
There’s an entire universe out there, even when it feels like your corner of the world has been turned upside down. Who has not felt like they’ve been roaming ...
By design, Ed Perkins’ The Princess keeps a healthy, mediated distance from its subject, the late Princess of Wales. After all, the news is the first draft of ...
Following The Film Stage's collective top 50 films of 2021, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
It’s...
Bouncing between multiple timelines before, during, and after the US’s “War on Terror," Denzel Washington’s A Journal for Jordan is a film that unfolds rather ...
John Fink is a New York City area-based critic, filmmaker, educator and curator. He currently serves as the Artistic Director of the Buffalo International Film Festival.
