Humboldt: The New Season (Canada, 45 min.) Dir. Kevin Eastwood, Lucas Frison Hockey is Canada’s game. It’s no wonder, then, that the nation found itself gripped by tragedy on April 6, 2018
Keep ReadingMike Wallace is Here (USA, 94 min.) Dir. Avi Belkin Bill O’Reilly calls Mike Wallace “a dinosaur” in an early clip in Mike Wallace is Here. The bullish former FOX News sleaze peddler provokes the
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Directors Tamara Kotevska and Ljubomir Stefanov discuss their acclaimed doc Honeyland, which poetically observes a lone beekeeper, Hatidze, in Macedonia as she strives to preserve a way of life.
Keep ReadingFree Trip to Egypt (Switzerland/USA/Egypt, 103 min.) Dir. Ingrid Serban Reality television meets Michael Moore theatrics in the earnest misfire Free Trip to Egypt. This well-intentioned doc sees idealistic Egyptian-Canadian Tarek Mounib take
Keep ReadingBethany Hamilton: Unstoppable (USA, 100 min.) Dir. Aaron Lieber No matter your beliefs, take the kids to see Bethany Hamilton: Unstoppable. This faith-based surfing documentary (yes, that’s a thing) offers a compelling and
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"When the financial backers put down their feet it a city, it’s with a lot of energy and they shake the city," says Push director Fredrik Gertten on his documentary that explores
Keep ReadingToni Morrison: The Pieces I Am (USA, 119 min.) Dir. Timothy Greenfield-Sanders Apparently Toni Morrison makes one heck of a carrot cake. The secret, she says, is a lot of carrots. “Other
Keep ReadingFerrante Fever (Italy/France, 74 min.) Dir. Giacomo Durzi Elena Ferrante is the Polkaroo of world literature. The elusive Italian author of My Brilliant Friend and Troubling Love has legions of fans, yet her identity is a
Keep ReadingNever-Ending Man: Hayao Miyazaki (Japan, 70 min.) Dir. Kaku Arakawa “It’s an insult to life,” mutters filmmaker Hayao Miyazaki to a flabbergasted colleague in Never-Ending Man. The legendary Japanese animator makes the terse
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If there’s a bucket list of documentaries everyone needs to see to understand the art form, Paris is Burning deserves a spot in the canon. Jennie Livingston’s film took audiences inside
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