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Cannes 2022: Stars at Noon, Leila’s Brothers, Pacifiction
Reintroducing Sparks: Edgar Wright and Russell and Ron Mael on The Sparks Brothers
My Happy Place Part V: Helping Others
Lighting the Torches of Others: A Celebration of Gloria Steinem
Mothers Doing the Extraordinary: Peter Hedges on Ben is Back
A Labor of Love: John C. Reilly on The Sisters Brothers
It’s Not the Violence: The Dowdle Brothers on “No Escape”
Cannes 2015: “Dégradé,” “Marguerite & Julien,” “The Grief of Others,” “Arabian Nights, Volume 2” and a showcase for diversity
Inception theories: Two key shots and others’ thoughts
Two reviews: “The Lives of Others” & “Climates”
Lauren Melinda Receives the Inaugural Chaz Ebert Phenomenal Person in Film Award
“Gen V” Rivals “The Boys” in a Sharper and Sleeker Season Two
TIFF 2025: Scarlet, Arco, Little Amélie or the Character of Rain
TIFF 2025: Fuze, Glenrothan, The Last Viking
The Telluride Tea: Reflections and Highlights of the 2025 Telluride Film Festival
TIFF 2025: Wake Up Dead Man, Rental Family
TIFF 2025: Palestine 36, The Choral, Peak Everything
Robert Daniels & Odie Henderson Talk “Highest 2 Lowest”
50 Years Later, “Sholay” Remains a Captivating South Asian Epic
You’re Enough, Just So You Know: Jay Duplass and Michael Strassner on “The Baltimorons”
Telluride Film Festival 2025: The Bend in the River, Summer Tour, This is Not a Drill
An Ode to the Unanswered Questions in “Agnes of God”
Short Films in Focus: Joe Hunting on “The Reality of Hope”
Venice Film Festival 2025: The Smashing Machine, Kim Novak’s Vertigo, The Testament of Ann Lee, Father Mother Sister Brother
Healers and Nurturers: Ethan Hawke on the Artists of “Blue Moon” and “Highway 99: A Double Album”
The Best American Actor of His Generation: David Strathairn on “A Little Prayer”
“When the World Broke Open: Katrina and its Afterlives” Launches at MOMA
“Gears of War: Reloaded” Writes a New Chapter in the Console Wars
The Most Significant Movie Ever Made
The Personal Becomes Universal in Moving, Funny “Long Story Short”
Clear Eyes, Full Heart, Can’t Lose: The Enduring Legacy of “Friday Night Lights”
Locarno Film Festival 2025: “Tabi to Hibi,” “Hair, Paper, Water…,” “Yakushima’s Illusion”
Josh Larsen on the Return of Cinema Interruptus
Apple TV+’s Meditative and Epic “Chief of War” Demands To Be Seen
The Spies of “Eyes of Wakanda” Can’t Be Stopped in Vibrant New Disney+ Animated Series
Fantasia 2025: A Grand Mockery, Every Heavy Thing, Anything That Moves
Cinema Femme Short Film Festival 2025: Highlights & Hope for the Future of Film
One of Us: Malcolm-Jamal Warner (1970-2025)
Everywhere You Go Has Valet: “Clueless” at 30 (Or Whatever)
KVIFF 2025: Awards and Wrap-Up
KVIFF 2025: Stellan Skarsgård on “Sentimental Value,” Ingmar Bergman, and Cinematic Empathy
KVIFF 2025: “Bidad” Director Soheil Beiraghi on Filming Undercover, Amplifying the Voices of Iranian Gen-Z Women
KVIFF 2025: Broken Voices, Out of Love, Don’t Call Me Mama
Music to Make A Man Fly: The Power of John Williams’ Theme to “Superman”
The Best TV of 2025 (So Far)
The Lonely Landscapes of “Materialists” and “The Worst Person in the World”
59th Karlovy Vary International Film Festival to Honor Stellan Skarsgård, Vicky Krieps, Dakota Johnson and Peter Sarsgaard
Netflix’s Third Season of “Squid Game” Limps Its Way To Its Bleak, Cynical Finish Line
Friendship Is Insane: Eva Victor on “Sorry, Baby”
June 2025 Blu-Ray/Streaming Guide: “Drop,” “The Nice Guys,” “Dark City,” More
Death Stranding 2: On the Beach is a Touching Story about Love and Loss
Myrin New’s Masterclass in Modern Black Tech Entrepreneurship
Tribeca Film Festival 2025: The Documentaries
