Adam VaughnFeaturedFeatured SpecialtyInterviewsSpotlight Interview with “The Walrus and the Whistleblower” Director Nathalie BibeauMarch 4, 2021
Christopher Llewellyn ReedFeatured SpecialtyFilm ReviewsSpotlight Film Review: In “Black Holes: The Edge of All We Know,” Mysteries Gain AnswersMarch 1, 2021
Adam VaughnFeatured SpecialtySeriesSpotlight Series Review: An Extraordinary View into the World of Video Games, “Playing with Power: The Nintendo Story” Excels in All WaysFebruary 28, 2021
Christopher Llewellyn ReedFeatured SpecialtyFilm ReviewsSpotlight Film Review: “Test Pattern” Offers a Nuanced Examination of a Sexual Assault’s AftermathFebruary 18, 2021
Christopher Llewellyn ReedFeaturedFeatured SpecialtyInterviewsSpotlight Interview with “Savage State” Director David PerraultFebruary 18, 2021
Christopher Llewellyn ReedFeatured SpecialtyFilm ReviewsSpotlight Film Review: “Happy Cleaners” Thoughtfully Explores the Korean-American ExperienceFebruary 11, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageSpotlightSundance Sundance Review: “Land,” Despite Occasional Missteps, Offers Profound HealingFebruary 11, 2021
Featured SpecialtyFestivalsFFT Festival CoverageHannah TranInterviewsSpotlightSundance Sundance Interview with Dan Deacon, Composer for “All Light, Everywhere,” “Philly D.A.” and “Strawberry Mansion”February 10, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageInterviewsSpotlightSundance Sundance Interview with “Eight for Silver” Director Sean EllisFebruary 8, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageFilm ReviewsSpotlightSundance Sundance Review: “Eight for Silver” Doesn’t Quite Make Cinematic Gold, but Still Offers Some Fine TreasuresFebruary 7, 2021
Christopher Llewellyn ReedFeatured SpecialtyFestivalsFFT Festival CoverageSpotlightSundance Our Take on Sundance 2021February 7, 2021