The film, which opened in limited theaters last week and will roll out in more U.S. theaters this month, marks the solo directing debut of Gerwig, 34. She carved a career co-writing and starring in independent darlings such as 2010’s “Greenberg” and 2012’s “Frances Ha.”  “Lady Bird” has already garnered critical praise and early awards buzz. “She just has this unique lens of seeing the world,” actor Beanie Feldstein, who plays Lady Bird’s best friend Julie, said of Gerwig. ​

While many of Wiseman’s other films examine the darker forces of institutions, Ex Libris is a meditation on the central role of the New York Public Library (NYPL) in New York’s intellectual and civic life. Like all of Wiseman’s films, his genius lies in the ways in which he can create meaning out of the mundane. Wiseman wanders the administrative halls of the library and drops in on staff meetings that might otherwise be seen as a bore. 

That scene, in Battle of the Sexes, the smartly engaging and depressingly relevant new movie about the match starring Emma Stone and Steve Carell, is a blast from the past loaded with lessons for the future, an eerie reminder that today’s rebloom of sexism is a scary echo of decades — actually, centuries — of innate and cultural misogyny. And it’s a handy playbook to get through our current crisis. Crises.

“Saturday Night Live” found laughter and lampoonery in America’s fraught political and social scene, and on Sunday the satirical sketch show looks set to reap the benefits at the Emmy awards, the highest honors in television. Led by Alec Baldwin’s withering impersonations of U.S. President Donald Trump and Melissa McCarthy’s winning turn as former White House spokesman Sean Spicer, the show earned 22 Emmy nominations after its most-watched season in 23 years.

The Deuce is an eight-episode look at the sex industry and the corruption of the NYPD, before it became a billion-dollar business, and much like The Wire before it, all of the players involved from Tariq “Black Thought” Trotter and his bushy mutton chops side burns, to Maggie Gyllenhaal’s gentle touch as prostitute Eileen “Candy” Merrell are genuinely taking us into the once real and now imagined gritty piss-stench of New York Time’s Square.

It’s about a White House in disarray, obsessed with leaks. About a president who accuses the media of lying, of making up stories… and accusations of a presidential campaign reaching out during the time of a national election to a foreign power to help them affect that election by intervention.’ And you'd say, ‘My goodness, that’s what’s going right now!’ And I'd say, ‘Nope, these are only a handful of things, out of perhaps dozens of things during the Vietnam period, that resonate today.’ 

Sampling an independent film festival is a little like putting a toe in murky waters.  Every genre is here, from animation, documentary, narrative, experimental, virtual reality, short to super short—there’s nothing to do but dive in. As the flyer promises, it’s “never boring.” Dennis Cieri, the NYC Independent Film Festival executive director and founder says, “it’s the indie filmmakers who change the nature of cinematography, as an industry and an art.”  For this eighth year, Cierti’s crew assembled 85 judges to rate 1,278 films.  

This is a historic year, but I’ve learned to temper my enthusiasm about black folks winning Academy Awards. While winning the coveted Oscar is often considered the high mark of one’s career, there are many examples of when the academy failed to recognize the best film made in a given year or even the best actor or actress nominated. I will never forgive the academy for failing to nominate Do the Right Thing for best picture. That year the Oscar went to Driving Miss Daisy.

If you think the height of documentary filmmaking comes from the brain of Ken Burns, Peck’s taut exploration of the life of one of America’s literary geniuses will come as a welcome revelation. Yes, there is archival footage mixed in with contemporary imagery, but there are no talking heads. There are no historians or professors emeritus explaining what we have or are about to see on-screen. For the most part, we simply have Baldwin himself, alternating mostly between frustration and indignation and occasionally bemusement.

For "Daze of Justice," his first film, Siv says he was drawn to the idea that people of his mother’s generation, who had long kept silent, were now seeking justice. What they find, and what the audience discovers over the course of the film, is that for victims of war, justice is often illusive, like an exotic animal one hears of but rarely sees. In another scene from the film, Siv’s group of survivors sit under a veranda alongside Pheng and a crowd of others - presumably victims or their descendants - as they watch a screen depicting the court proceedings happening just inside.