Strictly speaking, Native American reservations are not American soil.  Thus it shouldn’t be surprising that many Indian tribes do not have press freedom codified into their constitutions.  This was the case of the Muscogee Creek nation in Oklahoma, where, in 2018, the tribe’s government repealed free speech protections for the Muscogee Nation News.  That led to a ground-up citizens campaign to restore press freedoms so the Muscogee citizens

Erica Tremblay’s “Fancy Dance” aligns its warm heart with the many indigenous women who have been missing and murdered without finding justice and the Indigenous women who must navigate the world where the system casts them as persona non grata.

Written by Tremblay and Miciana Alise, this engrossing film is set on the Seneca Cayuga Reservation in northeast Oklahoma. It is here we find Jax

PALM SPRINGS, Calif.—The Oscar is the goal, and before the final five, there is what’s called the “shortlist”—films generating buzz that may or may not get the nod.  The Hollywood Reporter’s Mia Galuppo and Kevin Cassidy led two panels at the Palm Springs International Film Festival of filmmakers shortlisted as Oscar contenders this year for best foreign feature.

The first panel held at the

As is ever the case with film festivals, there aren’t enough hours, or days, to see everything, or even everything on my to-watch list. This despite making my way through screening links in the week prior to even setting foot in California.

I tremendously enjoyed my time at the 38th Palm Springs International Film Festival, interviewed some amazing filmmakers

Mia Hansen-Løve’s “One Fine Morning” ("Un beau matin" in the French original) is an intelligent and warm ode to the sorrows and joys of parenting. 

A marvelous Léa Seydoux is Sandra, a widow and single mother confronted with a father (Pascal Greggory) who has a disease that is causing the decline of his mental acuity. Sandra is sad, as her father can no longer

With “The Pale Blue Eye” director Scott Cooper has found his mojo again.

Ever since his excellent 2009 directorial debut “Crazy Heart” and his 2013 sophomore effort “Out of the Furnace,” Cooper had struggled to find a strength in his follow up projects.

2015’s true story of Whitey Bolger “Black Mass” was underwhelming.

The documentary filmmaker Dror Moreh doesn’t let his view of our species sneak up on you. Speaking on a video call from Tel Aviv recently, the director of “The Corridors of Power” minces no words.

“It’s a dark world,” he said, “and the human being is a horrible beast.”

Moreh would know. He’s spent the better part of the last decade making the documentary