It’s safe to call Canadian artist and filmmaker Bruce LaBruce a Panorama mainstay; it’s been two decades and counting since Hustler White premiered in this Ber...
Some years ago, an uncle of mine traveled to Palestine with a group of volunteers. It was a time of fewer videophones, certainly in the region, and the organis...
Egos are charred and tempers seared in La Cocina, a kitchen nightmare set in the engine rooms of a vast Times Square eatery where the staff have more pressing ...
Anyone looking to debate the limits of progress should cast an eye on 1980s Ireland. As a generation born in revolution and civil war moved from farms to towns...
In The Heirloom, a couple facing lockdown decide to adopt a pet. It’s wintertime in Toronto, and Eric and Allie are chipping away at their COVID-restricted liv...
World-premiering in this year’s Forum program at Berlinale, The Secret Drawer (Il cassetto segreto) finds director Costanza Quatriglio returning to her childho...
A yearly highlight of New York (or American) programming, the Museum of the Moving Image's First Look will return on March 13 with an opening-night screening o...
Jumper, Justin Anderson’s first short, opened on a naked man bathing in a pool. Conceived in 2014 for the tenth anniversary of British fashion designer Jonatha...
It was Mark Twain who said, “History doesn’t repeat itself but it often rhymes,” which is one way of approaching Belgian filmmaker and multimedia artist Johan ...
A few weeks ago, as The Sweet East started gracing theatres across the States, Reverse Shot ran a sprawling conversation between critic K. Austin Collins and c...
