Flipping a traditional formula on its head, Mari Walker’s haunting feature film debut See You Then begins simply enough: we're introduced to a reunion that tak...
Arriving on the festival circuit just as a group of Ivy League-educated millionaires in Congress punted on raising the minimum wage, Edson Jean’s Ludi is an of...
Sidestepping the curse that has befallen lesser behind-the-scenes documentaries taking on subjects with an immense archival body amassed over the course of dec...
It’s difficult to know where to begin when telling a story as vast as California’s wildfires, which with stunning frequency seem to have an impact on two very ...
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...
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.
