drama
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
“Do Right, Vote White!” marks Shameless’s 100th episode and it does so with the style we’ve become accustomed to.
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
We spoke with Rory Culkin about his role in The Song of Sway Lake, what drew him to the subject matter, and his, at times, rocky relationship with director Ari Gold.
Distinctively reminiscent of the show’s first season, with it looking to unfold on a case-of-the-week style basis, How To Get Away With Murder’s season premiere is taking one step back, hopefully, in order to take multiple steps forward.
Transit and Diamantino are two films that, though with varying approaches and to varying success, attempt to delve into the political turmoil of our world through their narratives.
In this first report from NYFF, we delve into Jean-Luc Godard’s latest film and an experimental feature from Ming-liang Tsai.
Kristy Strouse spoke with Eva Vives, director of All About Nina, using her own emotional history to power this inspiring hybrid of comedy and drama.
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.
Stephanie Archer rounds up her experiences at 2018 Tribeca TV Festival, including two world premieres and the 10th anniversary of Shark Tank.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
Offering a backstory to the infamous tale of Arthur and his Knights of the Round Table, Excalibur excels in its fantastical showcase delivering a story that is still fresh and grand today.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
Kenneth Branagh and Joss Whedon have each put their unique stamp on Shakespeare’s classic Much Ado About Nothing, and both are essential to the canon.