“Framing Agnes” (2022), Chase Joynt’s directorial feature debut, offers the audience a critique of the media’s portrayal of transgender and gender-nonconforming communities. Joynt’s movie is the result of a collaborative process, one that was recognized by two NEXT awards at Sundance.
Senior Film Critic Kurt Brokaw picks his virtual favorites from the 2022 New York Jewish Film Festival. Selections include documentaries on the history of a film about the Nuremburg Trials, artist Lily Renée Phillips, ehtnomusicologist Moisei Beregovsky, a musical about Bernie Madoff and a short about a bar mitzvah in the middle of an arial bombing.
“Titane” is a body-horror film through and through, but its commentary about sex and family is as central to the film as the gore.
Filmmakers Talia Lugacy and Rosario Dawson have been collaborators and friends for nearly twenty years. From their time as students…
In October, Pacific Northwest Ballet (PNB) announced the launch of the PNB Dance Film Festival, accepting submissions through December 15, 2021, for their March 18, 2022, virtual premiere.
Morgan Holly analyzes how “the Twilight Saga” grew from a small budget to launching the over $3.3 billion worldwide grossing vampire franchise.
As we approach the shipwreck’s 110 year anniversary, Xinyan Fu interviews British filmmaker, Arthur Jones, on his discovery of the stories of the six passengers who disappeared after the Titanic and the creation of “The Six” documentary.
Victoria Mallorga Hernandez reviews “The Living End,” which represents a rabid indictment of the Reagan and Bush administrations and their hand in the genocide of a generation of LGBTQ+ people, but through a language imbued with camp panache.
MaryGrace Depp reviews “Last Night in Soho,” directed by Edgar Wright, following how the film gets lost in a tangle of plot holes and twists, leaving you with more questions than answers.