In some relationships it’s easier to pick up where you left off, even after years of being apart. Others, such as those at the core of Marion Hill’s impressive...
As Americans are painfully aware these days, democracy is messy business. Following her fascinating 2014 documentary Democrats, about the work of creating a ne...
I often wonder what influential film theorist Andre Bazin would make of VR and simulations, especially when this year’s Sundance has virtualized the festival e...
A film that is both timely and timeless, Judas the Black Messiah resists intertwining current events with historical figures––an approach that Spike Lee has ex...
An immersive documentary inspired by Naoki Higashida’s groundbreaking book of poetry, Jerry Rothwell’s The Reason I Jump places us in the mind of nonverbal aut...
2020 was not so much a year that changed cinema, but the way we experience it––at least in the United States. The countries that contained COVID have largely r...
Inspired by real-life couple Jennifer Carter and Solomon “Sol” Chau, All My Life is the sanitized, sanded-down version of what probably would have been a very ...
It’s difficult enough for anyone to sort through the artifacts of their deceased parent or grandparent’s home and figure out what to save, what to donate, and ...
Late in Justin Staples’ brief exploration of the sub-genre known as "SoundCloud Rap," New York Times pop music critic Jon Caramanica opines that "what young pe...
Thought no fault of the filmmaker, Katrine Philp’s affecting Beautiful Something Left Behind arrives in an unusual period of global certainty, bravely explorin...
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.
