Bryan Fogel follows up Icarus with a harrowing, if occasionally glitchy, profile of Saudi Arabia’s snuffing of dissent, whether through social media or just plain murder.
Matthew Rankin’s gonzo reinterpretation of Canadian political history is as riotously funny as it is insightful about the symbolic nature of Western politics.
Heidi Schreck’s hit Broadway play transfers to Amazon with admirable verve, thanks to a strong central performance and effortless direction from Marielle Heller.
Try as he might, not even Philip Seymour Hoffman can’t quite spice up George Clooney’s warmed-over political drama.
Dawn Porter offers up a heartfelt, accessible tribute to one of Congress’ most stalwart Civil Rights leaders.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
The Office’s Greg Daniels and Steve Carell reunite for a clunky satire of Trump-era politics.
It’s not perfect, but the Russo brothers’ conspiracy-thriller take on the MCU turned its eye inward to the more explicitly political.
Grassroots activists fight political entrenchment in this inspiring documentary.
America’s first Muslim-majority city learns the limits (and victories) of multiculturalism.
Spike Lee’s hamfisted misfire throws everything at the kitchen sink – income inequality, Watergate, lesbian stud service – and none of it sticks.
Spike Lee’s third film is a caustic, exuberant exploration of the politics of race in the ’80s, from colorism to the effectiveness of activism.
From Jed Bartlet to CJ Cregg to Losh Lyman, we elect one of Aaron Sorkin’s quick-witted White House wonks from The West Wing to our Hall of Faces.
Today’s CIFF Dispatch looks at documentaries My Father and Me and The Human Factor, character drama Litigante and rape thriller Instinct.
Today’s CIFF dispatch sees reviews of Forman vs. Forman, Gloria Mundi, I Lost My Body, Let There Be Light, and Extracurricular.
Tone-deaf obviousness and blunt-force capitalist critiques plague Morris’ latest, letting down its good intentions with disappointing bluntness.
Janice Engel’s sprightly doc is more appreciation for the acclaimed journalist than activism, and that’s a good thing.
Sameh Zoabi’s politically-charged satire of Palestinian soap operas works better as farce than social polemic.