reviews

2026 Films, Berlinale, Coming of Age, Directing, Drama, Indie Films, LGBTQ+, Queer Stories, reviews, Screenwriting

4 min read

Berlinale 2026: “Mouse” Destined to be Hailed Among the Year’s Best Films

by Matt Fagerholm

February 13, 2026

There is no filmmaking duo whose work I await with greater anticipation than Kelly O’Sullivan and Alex Thompson. In 2019, Thompson made his debut feature, “Saint Frances,” written by and

reviews, Sundance

8 min read

Sundance 2026: “The Moment,” “The Gallerist,” and “Run Amok”

by Peyton Robinson

February 9, 2026

Whether a creator or observer, one’s relationship with art dictates a host of qualities: values, ambitions, fantasies, etc. That umbrella term – art – can be composed of so many

reviews, Sundance

6 min read

Sundance 2026: “The Musical,” “Extra Geography.” and “Carousel”

by Emily Jacobson

February 5, 2026

For my final dispatch of Sundance 2026, I talk about three films I screened virtually from home (though I originally saw “The Musical” in Park City, but I enjoyed it

reviews, Sundance

8 min read

Sundance 2026: “Josephine,” “LADY,” and “Big Girls Don’t Cry”

by Peyton Robinson

February 3, 2026

For many women, sexual discovery is a kind of reckoning. It comes in waves. Answering the question of “what was your first sexual experience?” can be immensely complex when bearing

reviews, Sundance

7 min read

Sundance 2026: “Leviticus,” “I Want Your Sex,” and “The Invite”

by Emily Jacobson

February 3, 2026

As I got deeper into the festival and more sleep deprived, my second dispatch from Sundance saw some common themes begin to emerge in the films I was seeing. In

Profile, Queer Stories, reviews, Sundance

4 min read

Sundance 2026: Finding Barbara Hammer—A Late Awakening to Queer Experimentation

by Rebecca Martin

January 31, 2026

Barbara Hammer once said, “If we’re experimenting with our lives and the way we’re going to live, our film and our art should also be experimental. It breaks tradition, and

reviews, Sundance

9 min read

Sundance 2026: “The Lake,” “Silenced,” and “Saccharine”

by Emily Jacobson

January 30, 2026

When I landed in what would be the last Sundance in Park City, Utah, a notable feeling of gratitude washed over me. My first day was a frenzy of badge

Coming of Age, Directing, Documentaries, Drama, Film Festivals, Horror, Indie Films, LGBTQ+, Queer Stories, reviews, Screenwriting, Sundance

16 min read

Sundancing on My Own: My Four Extraordinary Days in Park City

by Matt Fagerholm

January 28, 2026

Sundance has always been a festival I had admired at a distance. How Robert Redford had gone about using his platform to launch the careers of countless filmmakers for over

Chicago International Film Festival, Film Festivals, reviews

7 min read

CIFF 2025: “The Girl in the Snow,” “The Testament of Ann Lee,” “It was Just an Accident,” “The Voice of Hind Rajab,” “The Plague,” and “Sound of Falling”

by Matt Fagerholm

October 21, 2025

The Girl in the Snow One of the great discoveries I made at CIFF ten years ago was the talent of young Galatéa Bellugi. As a pregnant teen in the

2025 Films, reviews

3 min read

Femme Film Friday: “Being Maria” and “I Know Catherine, the Log Lady”

by cinemafemme

April 11, 2025

BEING MARIA – directed by Jessica Palud “I want to be free as an actor to explore where a scene can go, but if it’s going to be a fight

Film Festivals, reviews, Sundance

6 min read

Sundance 2025: “Bunnylovr,” “Love, Brooklyn,” and “Atropia”

by Peyton Robinson

February 25, 2025

For my final dispatch of this year’s Sundance Film Festival, I’m covering three films that I watched virtually. Ironically, these films, while not all specifically tailoring their plots to location,

Film Festivals, reviews, Sundance

8 min read

Sundance 2025: “Sally,” “Come See Me in the Good Light,” “Sunfish (& Other Stories on Green Lake),” “Brides,” and “Sorry, Baby”

by Emily Jacobson

February 18, 2025

For my second Sundance dispatch, I exchanged my snow boots for my slippers, and viewed most of the films from the comfort of my couch. While certainly not comparable to