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Criterion Review: PETITE MAMAN
ARE YOU THERE GOD? IT’S ME, MARGARET
SHOWING UP and Being Stuck
SXSW 2023: WITH LOVE AND A MAJOR ORGAN
SXSW 2023: SISTER & SISTER
The Tender Story of ONE FINE MORNING
Sundance 2023: VICTIM/SUSPECT
Sundance 2023: GOING VARSITY IN MARIACHI
Sundance 2023: NAM JUNE PAIK: MOON IS THE OLDEST TV
Sundance 2023: JUDY BLUME FOREVER
Sundance 2023: FANCY DANCE
Sundance 2023: THE DISAPPEARANCE OF SHERE HITE
Sundance 2023: IT’S ONLY LIFE AFTER ALL
Sundance 2023: SLOW
THE STRANGE LOVE OF MARTHA IVERS
Criterion Review: HÔTEL DU NORD
Criterion Review: SUMMERTIME
The Archivist #143: Two Musicals for Judy Garland’s Centennial [ZIEGFELD GIRL & FOR ME AND MY GAL]
NEPTUNE FROST: Music as Protest
Carol Kane Shines in HESTER STREET
Criterion Review: love jones (1997)
SXSW 2022: THE UNKNOWN COUNTRY
SXSW 2022: PRETTY PROBLEMS
SXSW 2022: WHAT WE LEAVE BEHIND
TURNING RED Is a Colorful Coming-of-Age Adventure
Criterion Review: LOVE AFFAIR (1939)
Sundance 2022: THE EXILES
Sundance 2022: AM I OK?
Sundance 2022 Interview: The Ebo Twins On HONK FOR JESUS. SAVE YOUR SOUL.
Sundance 2022: THE JANES
Sundance 2022: UTAMA
Sundance 2022: DESCENDANT
Sundance 2022: AFTER YANG
Sundance 2022: FIRE OF LOVE
PARALLEL MOTHERS is Pedro Almodóvar and Penélope Cruz’s Best Collaboration Yet
Criterion Review: THE RED SHOES
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