At a glance, Azazel Jacobs’ French Exit seems trivial, especially at a time when billionaires exist in droves, and the wealth divide continues to drastically w...
The hospital equipment beeps above doctors frantically at work to save a baby in crisis, her mother awaiting news in another room. Then the textual definitions...
Every story can be tackled from multiple angles depending on its narrative intent and lead character. It's therefore a conscious choice when selecting a focal ...
Mental illness isn't an easy topic to adapt for the big screen since doing so oftentimes forces a writer into making the choice between pain and hope. Not ever...
Producer Filip Jan Rymsza, editor Bob Murawski, along with Peter Bogdonavich and Frank Marshall, surprised the film world in 2018 when they finished Orson Well...
Recruiting
into the drug trade isn't difficult when impoverished youth from broken homes
are desperate to find purpose and escape. With school and family often...
Red, White and Blue, the third and weakest film from Steve McQueen’s Small Axe anthology series to premiere at this year’s NYFF, suffers because of its program...
In reimagining one’s history, you suspect your role in the proceedings. If you’re American, you put yourself in the heart of the battle, at the Constitutional ...
The dedication at the end of The Plastic House is short and sweet: “For Mum & Dad.” Like the rest of writer-director Allison Chhorn’s documentary, that ded...
Canadian novelist and playwright Robertson Davies once compared the continuity of a reader’s relationship to literature to that of architecture transforming in...
