Street photographer Rafi (Nawazuddin Siddiqui) makes a living snapping tourists in front of the Gateway of India. He has a simple sales pitch: the sun you feel,...
The impetus for The Last Black Man In San Francisco in 2019 makes a lot of sense. Cities like San Francisco have been changing, due to an influx of mostly young...
With it now being over a decade since the Bush-Cheney era, our perspective on the recent history is greater, which means it is time for filmmakers to have a str...
Comparisons to Ari Aster’s Hereditary are legitimate from pretty much the opening scene of The Lodge, Severin Fiala and Veronika Franz’s follow-up to Goodnight...
At the Sundance berth of Grant Sputore’s I Am Mother, an Australian sci-fi chiller in need of some trimming, I found myself far more concerned with the producti...
Diagnosing the fire that fuels the extreme right wing in Sweden as well as the business interests (publications, record labels, the political machine) that it p...
From exhaustive investigative documentaries to slick, disturbing thrillers to even meta tales of destruction courtesy of Lars von Trier, it seems like the seria...
What if our happiness wasn’t solely predicated on our fruitful relationships, career success, or spiritual fulfillment, but rather the sounds around us? It’s th...
If today’s political landscape is any indication, much of the world is living in a conservative past, seething with disgust for another perspective they fail to...
For the first bit of Late Night, directed by Nisha Ganatra and written by Mindy Kaling, everything's working and working well. What's introduced as the central ...
