Revolutionaries Never Die — Mohanad Yaqubi [Locarno ’26 Review]

Mohanad Yaqubi’s Revolutionaries Never Die is the Palestinian filmmaker and archivist’s cinematic “answer” to the pioneering Lebanese journalist and filmmaker Jocelyne Saab’s invitation to collaborate, a request sent via email in 2018. Unfortunately, Yaqubi was unable to respond before Saab passed away several months later, leaving behind a storied career spanning documentary and fiction (and docu-fiction) filmmaking, as well as photography and video art.

To read the rest visit In Review Online.

The Golden Spurtle

Much like the dish at the heart of the World Porridge Making Championships, Constantine Costi’s The Golden Spurtle is more than the sum of its simple ingredients.

Read my capsule review of the delicious Wes Anderson-esque doc in the Summer 2026 issue of Documentary magazine.

The Welcome Table

The latest creative endeavor in award-winning filmmaker Josh Fox’s (Gasland, How to Let Go of the World, The Edge of Nature) decades-long mission to spur climate action, The Welcome Table follows the connected tale of environmental destruction across six continents (and one very long art installation), centering the stories of those who call the frontlines home, from Paradise, CA to the paradise lost of the Peruvian Amazon. In turn, these climate refugees are brought together at a thousand-foot table along a New Orleans levee (at least those not denied Visas) to share their experiences, take inspiration from one another, and of course, enjoy some musical interludes as Fox is a fervent believer in “protests that sing.” (Among the acclaimed New Orleans musicians featured is the jazz artist John Boutté of “Treme Song” fame, who serves as both EP and primary offscreen narrator alongside the director-writer-environmental activist who likewise performs.)

To read the rest of my review visit Hammer to Nail.

“Do You Love Me” Reassembles Lebanon’s Cultural Memory

Lana Daher’s debut feature, Do You Love Me (2026), is a kaleidoscopic exploration of Lebanon’s cultural memory. The Beirut-based multidisciplinary artist drew from 70 years of found footage and archival material to assemble this visceral 76-minute portrait of Lebanese history, which premiered at Venice Days and is now playing at Metrograph in New York. Daher stitches together clips from her country’s independent cinema, newsreels, and home movies, causing the past and the present to collide and recontextualize each other anew.

To read my interview with the exceptional director visit Filmmaker magazine.

‘Do You Love Me’ Review: Lana Daher’s All-Archival Cinematic Love Letter to Lebanon

“In Lebanon, contemporary history is not taught in schools,” reads the opening text of Lana Daher’s Do You Love Me. The documentary is a stunning visual and sonic excursion through Lebanon’s history comprised of material obtained from over 20,000 sources — a feat made all the more impressive by the fact that the country has no national archive. As images start to fly by too fast to read their accompanying (and not always subtitled) Arabic and French text, we’re cautioned that the narrative doesn’t follow a strict chronology as “disorientation is part of the journey...welcome to Lebanon.” Indeed.

To read the rest visit Slant Magazine.

“Refreshingly self-aware”: Boy George & Culture Club review

Admittedly, despite having grown up with the chart-topping pop band Culture Club a ubiquitous presence on the airwaves of my youth, I’m not the target nostalgia audience for Alison Ellwood’s Boy George & Culture Club, a film whose subject is apparent to anyone familiar with such prefabricated 80s tunes as “Karma Chameleon” and “Miss Me Blind.” Indeed, for likeminded new wave aficionados, the band’s tired mainstream sound always undercut any rebellious bonafides its theatrically-clad titular singer may have had. (Music snob queer kids much preferred the gender-bending vocals of Bronski Beat’s Jimmy Somerville and Yaz’s Alison Moyet.) Which is why it felt so refreshingly self-aware to hear George himself candidly stress from the start, “We were never cool.” (This after noting that the aforementioned 1983 hit “Karma Chameleon” was supposedly the “nail in our cool coffin.”)

To read the rest of my review visit Global Comment.

Shock Value: The Filmmakers Behind ‘The Haunting of Pennhurst’ Talk Horror, Disability, and Care

A “horror film about care” is how multi-disciplinary artist Nathan R. Stenberg has described his initial concept for the Tribeca-premiering The Haunting of Pennhurst, a simultaneously disturbing and empowering doc he’s crafted along with fellow interdisciplinary artist Katarina Poljak and filmmaker Mike Attie (2014’s In Country). The film is an archival and vérité look at the Pennhurst Asylum, a tourist destination in Spring City, Pennsylvania, famous for its visceral “haunted attractions” and likewise infamous for having once been home to the Pennhurst State School and Hospital, a facility that systematically tortured and experimented on its disabled residents for close to 80 years. But what makes the multimillion-dollar enterprise truly stand out is that the majority of the “haunters” staging those spooky attractions are themselves disabled, including museum director and volunteer trainer/makeup artist Autumn Werner, who serves as the main guide in the doc. For this group of creatives, what was once a house of horrors has become a space to retake the narrative and to educate others so that the dark, ableist policies of the past are never instituted again. (Whether that message stays with visitors as they exit the gift shop or browse the Etsy store is less clear.) Soon after The Haunting of Pennhurst’s debut in the Escape From Tribeca section, Documentary reached out to the diverse trio of directors to learn all about their unique collaboration, as well as filming in a place of preservation financed by fear.

To read my interview visit Documentary magazine.