The twelfth edition of the almost-venerable Tribeca Film Festival wrapped up last week, and left the impression women filmmakers figured higher than ever. Is this the signal of a paradigm shift? And yet, contrary to what many believe women have stood peering into a viewfinder ever since silent-film era actress/director Mabel Normand yelled “Action” to Charlie Chaplin on the Keystone lot ("Silent film star deserved")

Most people believe Tribeca is all about the big pictures. However what makes it fun and different is what I believe are the backbone of most film festivals, as they are both the stepping stone for filmmakers and the quicker way to see more entertainment in a minimal amount of time; the short films. There were several this year that not only had more production and entertainment value then the features but

Sean Dunne's new documentary “Oxyana” was awarded a Special Jury Prize at the last Tribeca Film Festival, and it's easy to see why. Capitalizing on the current rage over oddball slice-of-life docs (see “The Queen of Versailles,”etc.), Dunne's straightforward portrait of a desolate West Virginia mining town ravaged by prescription drug abuse (Oceana, West Virginia, nicknamed “Oxyana” because of its Oxycontin problem) hits the right notes to ensure big indie success. He chooses a provocative topic, adeptly balances

During the 2013 edition of the Tribeca Film Festival which [...]

"Only Lovers Left Alive" by Jim Jarmusch will be vying for the 2013 Palme d'Or at Cannes. The film was added Friday to the official selection of the festival, which now runs twenty films deep. The festival has also decided to complete its official selection with "Le dernier des injustes" (the last of the unjusts) by Claude Lanzmann ("Shoah"), which will be screened out of competition. In addition, "My sweet Pepperland" by Kurdish director Hiner

If charming were a category at this year’s Tribeca Film Festival, “The Pretty One” would be at the top of its list. The fact that the film could attain that term after overcoming an early, tragic event vital to the film's plot is a testament to the performances within. Any one genre is difficult to explore but “The Pretty One” manages to incorporate several. According to the film’s director, AFI graduate Jenee LaMarque, who

I recently caught up with Sharon Badal, Short Film Programmer of the Tribeca Festival, and what I learned in thirty minutes could land dozens of books on “How to Make Short Films” in the recycle bin. Sharon's information about this underrated and experimental format, which has long been a filmmaker’s stepping stone, both confirmed some festival dos and donts and disproved some long-held theories about the short film submission process. For instance, Tribeca loves comedies