Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
In The Two Popes, the conservative Pope Benedict and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
Film Inquiry had the pleasure of speaking with Stephen Wilkes, director of Jay Myself, an ode to the life and career of his mentor, photographer and artist Jay Maisel.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Although uneven, Always in Season is hugely effective in raising awareness and provoking discussion around racial injustice.
Much like that of a promising get away, The I-Land is stunning on the outside with far less to offer on the in.
The disappointment when Cargo turns out to regurgitate the messages of a Hollywood production despite the unique style can’t be understated.
Brent Goldman covers Toronto International Film Festival films Honey Boy and How To Build a Girl.
Beyond a creative design and trailer, Killer Sofa is an idea that may have been conceived and executed foolheartedly.
Herself a Mainer, Mackenzie Bartlett wrote and directed her script The Party for last year’s Portland-Mainze based Damnationland festival.
In this TIFF 2019 report, David Fontana reviews four foreign films: Ordinary Love, Easy Land, August, and Dirt Music.
Corporate Animals by no means breaks the horror/comedy mold, but there’s some laughs to be had.