Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Interviews Spotlight SXSW SXSW 2022 Is Live: Interview with “Long Line of Ladies” Directors Rayka Zehtabchi and Shaandiin Tome March 10, 2022
Featured Specialty Film Reviews Robin C. Farrell Spotlight Film Review: “I’ll Find You” Tells a Deceptively New Tale February 24, 2022
Featured Specialty Film Reviews Robin C. Farrell Spotlight Film Review: “Let Me Be Me” Is a Deeply Moving Family Love Story February 17, 2022
Christopher Llewellyn Reed Featured Specialty Film Reviews Spotlight Film Review: Bittersweet “Lunana: A Yak in the Classroom” Moves Us Deeply February 13, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: “The Worst Person in the World” Is a Moving Ode to Self-Actualization February 3, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: Past (and Future?) of Abortion, via Doc and Fiction, in “The Janes” and “Call Jane” February 1, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: “Master” Treads Heavily, but Still Meaningfully January 29, 2022
Featured Specialty Festivals FFT Festival Coverage Film Reviews Hannah Tran Spotlight Sundance Sundance Review: “Speak No Evil” Is Horror by Way of Haneke January 28, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: Cooper Raiff’s “Cha Cha Real Smooth” Is a Charmer January 27, 2022
Featured Specialty Festivals FFT Festival Coverage Film Reviews Hannah Tran Spotlight Sundance Sundance Review: In “Watcher,” Maika Monroe Returns as Indie Scream Queen January 26, 2022
Christopher Llewellyn Reed Featured Specialty Festivals FFT Festival Coverage Film Reviews Spotlight Sundance Sundance Review: In “Mars One,” Big Dreams Ground Us Here on Earth January 25, 2022
