2020s
We spoke with Brea Grant, writer/director of 12 Hour Shift, about the movie and her creative decisions, collaborations, and inspirations.
Gripping and irresistible, The Stranger will have you holding your breath and on the edge of your seat until the final moments.
Quite beautifully, Lorelei turns this redemption tale into one of the sweetest on-screen portrayals of fatherhood.
In a time when women are breaking boundaries and recreating the ideas and perspectives of female characters, How to Build A Girl delivers just that.
Ema is not like any other film that has come out this year so far. Its celebration of female agency is like a fever dream — indescribable and euphoric.
Alice Wu’s The Half Of It is a tender teen romance and a nuanced take on sexuality and friendship. Andrew Stover reviews.
Working Man is a quiet debut from writer-director Robert Jury, but all the better for it. Lana Stanczak reviews.
Cody Heller brings an inescapable vulnerability to her latest series Dummy, an honesty not typically seen in female driven stories.
With Hearts & Bones being one of many bypassing a theatrical release and going straight to digital, let’s hope that those at home make time for this dignified drama.
Arkansas is beautifully constructed and represents its subject in every solitary element.
Vitalina Varela is a visually stunning film submerged in regret, remorse, anger, and in some ways a faint light of hope.
Cowboys is Anna Kerrigan’s delicate and modestly subversive take on the Western, in which a father violates his parole and pulls his son away from an unpleasant upbringing.
Circus of Books packs so much heart and warmth that only the coldest of souls would fail to be moved by it come the end credits.
Even if you admire Deerskin’s audacity, its sudden and puzzling conclusion leaves much to be desired.
Bad Education is not just a great true story account, but also an excellently crafted and complex one, complete with phenomenal performances.