Persistence pays off. Bryan Wizemann has been painstakingly hacking away at indie film since 1998's Sense following that with 2005's Losing Ground, 2011's About...
A Bear to Care: Attanasio Scores Modest, Sincere Debut
Although lacking in originality and narrative energy, director Annabelle Attanasio more often than not makes up...
How does free will exist when moral responsibility, opportunity and happenstance constantly impede on an individual's further actions? Blending themes of attachment, addiction and...
There’s Always Tomorrow…Maybe: Fidell Explores the Familiar Predicaments of the LTR
Director Hannah Fidell follows her 2013 debut A Teacher with concisely minded 6 Years,...
Title Track: Barker-Froyland’s Cloying Debut Plays Familiar Tune
“Sad song at night, hipster’s delight” should be the opening line in Kate Barker-Froyland’s mournful, musically inclined...
Potentially filling Sundance's quota for difficult relationships, Hannah Fidell (profiled in our IONCINEPHILE series) will have moved from the heated, self-deprecating rapport between prof...
Technically her sophomore point fifth of a feature (65-minuter We're Glad You're Here precedes A Teacher) which has amusingly gone by a vast array of titles...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.