“Evil Does Not Exist”: A tranquil coasting across the vanity of mankind
Sam Mroz, Arts & Life Editor
• October 22, 2023
“Sweet Dreams”: A biting perspective on colonization that stings and surprises
Claire Tweedie, Editor in Chief
• October 22, 2023
“Monster”: A quiet look at the complexity of boyhood and the monsters behind it
Claire Tweedie, Editor in Chief
• October 22, 2023
“La Chimera”: Grave robbing plays as pastime to a dense reflection of lost love
Sam Mroz, Arts & Life Editor
• October 22, 2023
“Lost Country”: Politics and family come together in a story built on social unrest
Sam Mroz, Arts & Life Editor
• October 22, 2023
“Zone of Interest”: A resonant moral probing of evil and its subtle cultural imprints
Sam Mroz, Arts & Life Editor
• October 22, 2023
“The Boy and the Heron” review: A boy and a bird graciously sing Miyazaki’s swan song to cinema
Sam Mroz, Arts & Life Editor
• October 15, 2023
“Rustin” review: History falls flat in over-ambitious and underwhelming dramatization
Claire Tweedie, Editor in Chief
• October 15, 2023
“The People’s Joker” review: Putting clown makeup on a story of identity and calling it a parody
Claire Tweedie, Editor in Chief
• October 15, 2023
“Poor Things” review: A technicolor take on oddity and identity
Claire Tweedie, Editor in Chief
• October 15, 2023
“Eric Larue” review: Shoddy artistry upends an otherwise novel story of tragedy and faith
Sam Mroz, Arts & Life Editor
• October 15, 2023
CIFF volunteer experience positive for film students, cinephiles alike
Nate Burleyson, Online Managing Editor
• October 28, 2019
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