Matt Fagerholm

Boesten’s picture leaves viewers contemplating all that they have been unwilling to forgive, and all that could be achieved once that baggage has been thrust from their shoulders.

Indeed, González has the keen eye of a documentarian that can perceive the very details that normally escape one’s gaze. His film demonstrates just how much we can glean by slowing down to savor the sights around us and those who inhabit them. To take the time to look at the world through the eyes of others rather than be limited by our own perspective.

Though the film initially promises to follow its subject into a dark night of the soul wherein he wrestles with demons, “McEnroe” is every bit as much a celebration of his legacy as a gifted bad boy.

Chin and Vasarhelyi make a solid case for why space exploration should continue, and the benefits we could reap from it, provided it doesn’t keep our heads perpetually lost in the clouds.

I doubt How to Survive a Pandemic will alter anyone’s opinion regarding the necessity of vaccines, yet it does pay admirable tribute to the scientists fighting to save the world, including those stubborn earthlings who have no interest in being saved.

Georgian filmmaker Levan Koguashvili’s Tribeca prize-winner, “Brighton 4th,” is a tragicomedy that sneaks up on you stealthily before flooring you with an emotional sucker punch in the final reel.

Robinson is matter-of-fact, thoughtful and enormously compelling in illustrating hidden chapters of our shared history.

The travesties of justice on display throughout “President” become so repetitive and inevitable that it renders one exhausted, grateful if only that the killing of democracy has been so clearly and meticulously documented.

By inviting viewers to share in the most private of transformative periods for his family, Max Lowe scaled the Mount Everest of the soul, creating a cinematic gift that cuts to the heart in ways few films ever do.

Maggio’s film is also deeply moving in how it illustrates the ways in which a single life can have an eternal ripple effect throughout the generations, seamlessly blending Parks’ voice with those of the modern day photographers who carry on his legacy.

What Convergence reinforced for me, more than anything, is simply the overwhelming gratitude I have for every essential worker who took my temperature, bagged my groceries and drove me to my desired destination over the past twenty months.

The Human Factor is as much about modern day America as it about Israel and Palestine, and how much we have to lose when we give into the easy temptation of demonizing those who think differently—even if it’s as a result of listening to Tucker Carlson.

What’s most rewarding about curator Sam Abbas’ short film collection, Erēmīta (Anthologies), is in how it magnifies the ways in which all of us, regardless of where we live, have become intrinsically connected by the challenges of this unprecedented era.

Regardless of one’s whereabouts or knowledge of the Great White North, viewers will likely find this comic fable chillingly relatable, as the world teeters on the brink of totalitarian collapse.

Since Thunberg is one of the most gifted and arresting speakers alive today, I Am Greta is inherently compelling as a behind-the-scenes document of the vulnerabilities masked by her forceful persona.

The vast majority of this picture is extremely well done, which is what makes its sudden misstep into wish fulfillment sentimentality during the final twenty minutes all the more of a letdown.

What’s remarkable is how Alexandra Pelosi, shooting much of the footage herself with a handheld camera, captures images that resonate on multiple provocative levels following the events of recent months.

Had the filmmakers put forth the effort to view the story through Jamal’s eyes, they may have had a worthy cinematic counterpart to their noble off-camera achievements.

Our Time Machine leaves you wanting a whole lot more, and that’s not necessarily a bad thing.

Rather than massage the ego of its progressive target audience, this film stares back at us with a piercingly critical gaze.

Like the director’s 2017 profile of Dries Van Noten, Martin Margiela: In His Own Words explores how its titular subject is driven by ideas rather than ego or a desire for stardom.

If anything, the picture is a touch too benign for its own good, though it does earn enough laughs to warrant a recommendation, at least in its first third.

Polsky’s skill in mining the darkly humorous shades of disastrous hubris is not all that surprising, considering he produced Werner Herzog and Nicolas Cage’s funniest film to date, 2009’s “Bad Lieutenant: Port of Call New Orleans.”

Laughter is an essential fuel when dealing with subject matter as heavy as this, and The Fight does a splendid job of humanizing its heroic lawyers.

What I enjoyed most about the film is how it illustrates the ways in which we view life through the prism of art in order to reach a deeper understanding of it.

The final four minutes turn what was already a fine picture into an unforgettable one, affirming Morchhale’s status as one of the most exciting figures of the Indian new wave.

I went into the film knowing nothing about the Cantopop star, and came away from it as an instant fan rejuvenated by my connection to every soul throughout the world currently fighting to preserve human rights against the rising tide of totalitarianism.

Daddy Issues is not the laugh-out-loud rom-com it had likely aspired to be, yet it’s just charming enough to make you wish it were better.