“Only Indigenous voices can tell their stories with dimensionality, and the tools to make that happen are incredibly accessible,” says film director Christian Rozier.
Critics say the new comedy series Neon was written, directed, and produced by non-Puerto Ricans.
At this year’s Sundance International Film Festival, more than half the feature-length movies were made by directors who identify as women.
The filmmaker and visual artist tells stories that speak directly to Native audiences while not over-explaining meaning for non-Native viewers.
A documentary trilogy follows the life of Thich Nhat Hanh, who expounded the principles of engaged Buddhism.
Jean Renoir’s newly restored 1939 classic proves that lawless wealth — then as now — makes a marvelous farce of us all.
A festival dedicated to Davinci’s The King Show celebrates the LA artist’s trippy remixing of stock footage, Hollywood cinema, and theater.
Letters Unwritten to Naiyer Masud attempts to peer into the late writer Naiyer Masud’s concealed world.
Saim Sadiq’s crushing debut, the first Pakistani film to be shortlisted for the Oscars, is imbued with a crisis of space.
All the Beauty and the Bloodshed centers the artist’s campaign to stop the “artwashing” of the Sackler family’s role in the opioid crisis.
In myriad ways, coming as it does in January, Sundance sets the stage for US cinema through the rest of the year.
Squaring the Circle (The Story of Hipgnosis) is a reasonably informative, if rather dry, look at a subject with much more potential for exploration.