I’ve never felt prouder to be a Chicagoan than when attending the 30th Black Harvest Film Festival. As Chicago’s premier Black film festival, Black Harvest serves as a homecoming for the voices and stories of Black people from the city and across the diaspora and the world. This year, I felt a profound connection to

Mike Schur’s “A Man on the Inside” is a delightfully pleasant charmer, a comedy that’s almost calming as it drops into a tumultuous world. The co-creator of “Parks and Recreation” and “The Good Place” is not only one of the best writers in the history of the form (he also had his hand in “Hacks,”

One era’s trash is another era’s treasure. This becomes truer the deeper we get into the era of computers and automated, technology-assisted production. I’ve been thinking about this because of the existence of the nostalgia cable network MeTV Toons. It runs nothing but older animation—mainly stuff produced between the 1940s and the 1990s for movie

Across the two features she’s made to date, Payal Kapadia has emerged as a luminous new voice in Indian cinema, exploring the personal as political through her shimmering, empathetic portraits of working-class Mumbai.  Her first feature, “A Night of Knowing Nothing,” opened with unsent love letters, from a film student to her estranged lover, discovered

Attending the Black Harvest Film Festival feels like a rite of passage—a celebration of Black storytelling that captures the spirit and resilience of our community. But as a Black man, it offers something even more profound: an opportunity to escape, reflect, and find solace in shared experiences. This year’s lineup was no exception, showcasing a

“Bringing Out the Dead” does not assert itself as an obviously religious film. and yet, it is borne from the ideological conflict of wrath versus compassion that separates the Old and the New Testament. Here, in the early ’90s, New York is an urban cesspool of sin, destitution, and suffering—it is ready for a biblical

For those unfamiliar, a landman is the public-facing side of an oil company’s production team; their job is to secure leases and mineral rights for oil drilling. As Taylor Sheridan‘s umpteenth show for Paramount Plus would have you believe, it’s a cutthroat job that involves, of all things, negotiating a land deal with a Mexican