If you didn't know what you were getting into upon sitting down for Bruce Beresford's Mr. Church, you will following this onscreen text: "Inspired by a True Fri...
Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director's landmark debut, Hoop Dreams, and...
There’s something to be said about the resilience of Renée Zellweger. After a 6 year absence, it’s fitting that she returns to mainstream audiences in the comfo...
The 2010 oil rig explosion in the Gulf of Mexico was a disaster beyond belief, not only causing the deaths of workers, but ecologically setting our planet back ...
Lav Diaz’s Golden Lion winner from this year's Venice Film Festival feels like something of a surprise because, for all its extended shots, luminous black-and-w...
It appears my first foray into Nollywood (Nigerian cinema) was well selected being the latest from director Izu Ojukwu, one of the nation's most ambitious artis...
Directors of a certain auteurist stripe serving as producers for up-and-comers and protégés can be a mixed blessing. On the one hand, they may over-exert their ...
We’ve lamented the qualitative drop of Chinese cinema around this time last year, as Hu Guan’s glossy generational drama Mr. Six closed the Venice Film Festival...
The film industry is still a long way from racial equity, but the last few years have seen strides to bring the young black experience to the screen in films li...
Maud Lewis, as played by Sally Hawkins in Aisling Walsh’s Maudie, was an incredibly important Canadian folk artist. Most of her paintings, all rather small-size...
