Sundance 2019: The Last Black Man in San Francisco, Clemency
Reviews of two incredible new films that are part of Sundance’s U.S. Dramatic competition.
Reviews of two incredible new films that are part of Sundance’s U.S. Dramatic competition.
An Ebert Fellow on her first few days at Sundance.
You know how a painting can look totally different depending on the angle from which you’re viewing it? The same thing is going to happen with “Velvet Buzzsaw,” and I think that’s exactly how Dan Gilroy wants it.
First impressions of Sundance from an Ebert Fellow.
A review of three documentaries that had their world premieres at the Sundance Film Festival.
On three more competition films from Sundance 2019, including one of the festival’s best.
A review of two more Midnight movies from Sundance, one great and one not.
A review of three docs that played the Sundance Film Festival.
A review of two political films from this year’s Sundance. One is great, one is not.
A review of three horror films from the Sundance 2019 Film Festival.
A 2019 Ebert Fellow on the opening night film, Native Son.
On three bio-docs from Sundance about David Crosby, Leonard Cohen, and Anton Yelchin.
An interview with Julius Onah, director/co-writer of “Luce.”
A dispatch of three reviews from Sundance, including the latest by Under the Shadow director, Babak Anvari.
A review of Gurinder Chadha’s Bruce Springsteen-inspired “Blinded by the Light,” which had its world premiere Sunday night at the Sundance Film Festival.
Reviews of three character-driven U.S. Dramatic competition films that had their world premieres at the Sundance Film Festival.
A table of contents featuring work written by Ebert Fellows.
A table of contents for all of our Sundance 2019 coverage.
A Sundance 2019 dispatch featuring reviews of “Dolce Fine Giornata,” “Divine Love,” “Monos,” “Queen of Hearts.”
A review of two Saturday night Premieres from Sundance.