Review
Yazdi’s Best of 2019: the First Half
Hello film lovers. Yazdi here.
The first six months sometimes felt like the world was on fire. If not underwater. Literally. With record high temperatures world wide and biblical floods elsewhere. Mass shootings on a daily basis and a political regression to the early fifties. In these spiraling times, I found the best salve in the comfort of movie theaters, when stepping in, no matter how briefly, into the lives of others on screen was distraction enough. So now is as good a time as any to list the better films that got released in the first half of 2019.
- BOOKSMART (VOD: iTunes/Amazon)
Objectively smart, wickedly funny, and ultimately well meaning, this film will hold up as a classic of the American teen film genre. Not since FRANCES HA have we seen a film take on, as its principal focus, the careful examination of the relationship between two female friends, an oft neglected topic. And start preparing to hear the name of Olivia Wilde at end-of-year Best Director discussions.
- GLORIA BELL (VOD: iTunes/Amazon)
No film this year brought be greater delight at the simple joy of being alive as GLORIA BELL. Remaking his own celebrated 2013 Chilean film GLORIA, starring the indomitable Paulina Garcia, director Sebastian Lelio, fresh off his Best Foreign Film Oscar win for A FANTASTIC WOMAN, teams with Julianne Moore for his English language debut in GLORIA BELL. This film chooses to watch, without judgment, a woman of a certain age post-divorce try to find her place in the world again. People always complain that the stalwarts like Streep and Moore and Close always grab all the attention, not leaving room for new actor recognition, but to watch Julianne Moore here, in a resplendent, unaffected, and open performance is to realize why the good actors deserve our continued respect.
- US (VOD: iTunes/Amazon)
Jordan Peele’s sophomore feature lacks the elegantly clean plotting that made his first film, GET OUT, a breakout hit. This second film from Peele is messier and bites off more than it can chew. But that doesn’t make it a lesser film, just a more ambitious one. Most of the film plays, and effectively so, as a thriller, even as a genre home invasion film. But in its last thirty minutes it digs deeper at what Peele had in mind with the film all along. A blistering attack on privilege, the price we pay for repressing our identity, and our cultural acceptance of elitism, US has one of its characters say in so many words that the film title refers to an unsteady “United States” and not the deceptive warmth of “us”. Is it that each one of us has an other hidden self, the truer person that we keep firmly subterranean. And what if all our other hidden selves were to get together. That we are even discussing these ideas is a testament to the vision of Jordan Peele. When can we see your next film, Mr Peele?
- EVERYBODY KNOWS (streaming on Netflix)
A woman returns with her kids to her hometown in Spain for her sister’s wedding and her teenaged daughter goes missing on the night of the celebrations. This plays like a thriller, but only as a device to comment on the unknowable secrets that lurk within families. And the long-held resentments and past grudges that erupt when something bad happens. This is a melodrama in the best sense of the word, a fully satisfying moral dissection of family couched within a whodunit. This is a Spanish language feature made by an Iranian director, set in Spain and features some of the best acting talent from Latin cinema. All one needs to say is that it stars Penelope Cruz, Javier Bardem and Ricardo Darin. What more do you want from your cinema, especially coming from two-time winner of Best Foreign Film director Asghar Farhadi. And as terrific as Cruz and Bardem (playing Cruz’s past lover) are in this film, it is Barbara Lennie who plays Bardem’s wife who should be included any year-end discussion of the best supporting performers in cinema. I wonder if there is a better film screening on Netflix right now.
- MIDSOMMAR (back in theaters for the Director’s cut with 30 additional minutes)
This film technically didn’t open until July 3rd, but I saw it at a screening earlier in June, so I am including it on this list. How could I not. This is not a perfect film, and a few times comes dangerously close to buckling under its own heft. And I wanted the ending to hold more wonders, be more original (although the conclusion has a delighting sourness to it). But the film is constructed with so much wonder otherwise, and is so masterfully crafted, that I readily surrendered to where it took me. The film is about a group of friends who visit the rural home of their Swedish friend to attend the once-in-decades Midsommar festival, and soon start to realize that things there may not be as idyllic as they seem. The film circles around so many issues, (including a nicely haunting prologue featuring rising star Florence Hugh having to deal with sudden tragedy), that it is often difficult to identify the film’s primary thesis. But therein lies its strength because the road to its conclusion is so gleefully unpredictable.
- ROCKETMAN (VOD: Amazon/ITunes)
Now here is how to make a biopic. Of a musical genius, even while being constrained by the jerky, necessarily episodic nature of the storytelling. In its execution and in its joyful, surreal, and altogether delightful visual splendor of the musical pieces, the film goes to heights that completely eluded the overcelebrated BOHEMIAN RHAPSODY from last year. Unlike that film, ROCKETMAN has its lead sing his own songs (and he is mighty adept at it), the film covers a relatively short period of time (childhood through the early eighties) in the life of its protagonist, and most critically handles them with integrity.
- PHOTOGRAPH (streaming on Amazon Prime)
As small as this film is, it gives so much. The director of the celebrated film THE LUNCHBOX, has his next film that is set in India deal with the unlikely connection between two strangers who need each other more than each realizes. Wise, gentle and never kneeling to the unnecessary turnings of a plot, PHOTOGRAPH best of all is a movie about movies, and finds a way to pay wistful homage to a past Bollywood that will never be again. The film is also a marvel of acting, as the unimprovable Nawazuddin Siddiqui creates another indelible character of an everyman in India. Seek out this film, particularly since it is streaming on Amazon Prime now.
- JOHN WICK 3 (VOD: iTunes/Amazon)
The John Wick films have become an unexpected paean to superlative action in cinema. And JOHN WICK 3 is no exception; the film is essentially a concatenation of hard-to-believe, how-did-they-do-that set pieces that frequently bring jaw to floor. How each successive film in the series amps the ingenuity of the action is something to marvel at, even as the scripts widen the mythology of the world created by the first film. What is not something to marvel at is how Chad Stahelski, the man behind these films, feels the need to also unfortunately ramp up the violence in these films; look, I am fine with violence in cinema and it doesn’t usually bother me. But as many others have mentioned, if JOHN WICK 3 didn’t get an NC-17 rating for extreme violence, then no film ever will. Why this need to push the limits of the eye-gouging and bone-crunching; Stahelski should have confidence in his craft and understand that not everyone savors violence as entertainment.
- GULLY BOY (streaming on Netflix)
A young man from the Mumbai slums dreams of becoming a rap artist. This was film I should have had no interest in, and yet it totally captivated me, proving again Roger Ebert’s assertion that it’s not what the film is about, but rather how it is about what it is about. Ranveer Singh just coming off his gloriously deranged role in PADMAVAT, plays the title character with a mixture of resigned despair and cautiously germinating optimism. And Alia Bhat playing his girlfriend who will take no prisoners, very nearly steals the film. This is another winner from writer-director Zoya Akhtar.
- THE DEAD DON’T DIE (VOD: iTunes/Amazon)
I am not routinely a fan of horror, but Jim Jarmusch’s droll, dry take on the zombie genre made me beam through the running time of THE DEAD DON’T DIE. Many found the film inconsequential, but I resonated fully with the deadpan humor, and the film’s frequent forays into self-aware breaking of the third wall. Bill Murray has reached a mythical stature in cinema, but to see his line readings in this film is to realize why he earns that place. And with a ridiculously privileged cast that includes Adam Driver, Tilda Swinton, Chloe Sevigny and Alison Janney, this film is a breezy hoot.
McQueen | Review

Full Listing of 2018 Tribeca Film Festival Coverage | #tribeca2018
Every April, the three Moviewallas arrive into New York City with gleaming eyes and smiles that won’t rub off our faces. We arrive to soak our needing bones in the offerings of the Tribeca Film Festival, wanting for good cinema since the end of the awards season earlier in the year.
This year our schedules dictated that we caught the back end of the film festival; we usually attend the festival in the early part. Being based in San Diego, and juggling other jobs, we can make it to New York for about a week every year, even though our hearts ache for more time at the festival. After having watched four, five, six films a day, our bodies start to exhaust, our droopy eyes start to crave for the littlest sleep, and we may start to lose a dash of the spring in our steps. But the greedy mind and the selfish heart wants for more films, but we have to turn around and leave.
Coming into the latter half of the festival, we worried a little this year that we might not be able to catch as many films as in the past. We feared that the best films will have already had their press screenings earlier in the festival. Turns out our worries were in vain; amongst the three of us, we watched 25 films at the festival. Upon returning back to San Diego, we rested our press badges with pride at our recording studio; it was another fulfilling year at Tribeca.
So as in every year, herewith is a full listing of all 29 films we covered at #tribeca2018. All of them were discussed during our four live from New York podcasts. And as always, before the alphabetical listing of all of the films we covered, here are the top festival favourites from each of the three Moviewallas.
Joe’s Top Films from the 2018 Tribeca Film Festival
Rashmi’s Top Films from the 2018 Tribeca Film Festival
Yazdi’s Top Films from the 2018 Tribeca Film Festival
And here is a full alphabetical listing of the films we covered at #tribeca2018 with links to the Tribeca film descriptions as well as to the specific podcast where each film was discussed:
- BOBBY KENNEDY FOR PRESIDENT, Day 1 podcast at 2:45 minutes
- DEAD WOMEN WALKING, Day 4 podcast at 16:20 minutes, Rashmi and Yazdi’s Top Tribeca pick
- DIANE, Day 4 podcast at 45:30 minutes, Yazdi’s Top Tribeca pick
- EGG, Day 2 podcast at 29:05 minutes
- ENHANCED, Day 2 podcast at 23:15 minutes
- IN A RELATIONSHIP, Day 2 podcast at 4:05 minutes
- IT’S A HARD TRUTH AIN’T IT, Day 1 podcast at 33:45 minutes
- MAPPLETHORPE, Day 4 podcast at 30:55 minutes
- MARY SHELLEY, Day 3 podcast at 42:35 minutes
- NIGERIAN PRINCE, Day 2 podcast at 40:40 minutes
- OBEY, Day 4 podcast at 36:15 minutes, Joe’s Top Tribeca Pick
- SATAN & ADAM, Day 3 podcast at 25:35 minutes
- SAY HER NAME: THE LIFE AND DEATH OF SANDRA BLAND, Day 1 podcast at 17:20 minutes
- STUDIO 54, Day 3 podcast at 11:15 minutes, Rashmi’s Top Tribeca Pick
- THE AMERICAN MEME, Day 3 podcast at 31:45 minutes
- THE BLEEDING EDGE, Day 2 podcast at 11:50 minutes
- THE DARK, Day 4 podcast at 25:15 minutes
- THE ELEPHANT AND THE BUTTERFLY, Day 3 podcast at 17:40 minutes, Joe and Yazdi’s Top Tribeca Pick
- THE FEELING OF BEING WATCHED, Day 3 podcast at 2:10 minutes
- THE FOURTH ESTATE, Day 4 podcast at 5:30 minutes
- THE GREAT PRETENDER, Day 1 podcast at 13:45 minutes
- THE PARTY’S JUST BEGINNING, Day 1 podcast at 28:20 minutes
- TINY SHOULDERS: RETHINKING BARBIE, Day 1 podcast at 8:00 minutes
- TO DUST, Day 1 podcast at 23:15 minutes
- UNTOGETHER, Day 2 podcast at 51:15 minutes
Until the year next, goodbye Tribeca!
After Auschwitz | Review
As the 70th anniversary of Holocaust Remembrance Day approached earlier this year, Poland passed some controversial legislation criminalizing any mention of Poles “Being responsible or complicit in the Nazi crimes committed by the Third German Reich.” They stated that the harshest penalties would be reserved for those who referred to Nazi-era concentration camps such as Auschwitz as “Polish death camps.” Many in Israel called this an attempt to whitewash the role that some Poles had in the detention and killing of around three million Polish Jews during World War 2.
Regardless of what you may think about who was complicit or how we refer to the role of Poland specifically, one thing is for certain; the holocaust occurred, it was one of the atrocious cases of mass killing, and we need to do everything we can to make sure such horrors never happen again. This alone makes AFTER AUSCHWITZ critical and compelling viewing. Recently I was invited to a sedar dinner where our host explained that one of the last remaining holocaust survivors at their local synagogue had just passed. As the years move on, so do most of the remaining survivors and our ability to hear directly from them about the atrocities each of them faced for a period of their lives
Jon Kean’s AFTER AUSCHWITZ, is a “Post-Holocaust” documentary that follows six incredible women after their liberation from Nazi concentration camps. It effectively captures what it means to move from tragedy and trauma towards life although we quickly learn that despite these women surviving and going on to build productive lives in the United States, they never truly find a place to call home. Well-constructed with appropriate archival footage and in-depth interviews, the documentary examines the question around what happens after surviving an unspeakable horror.
For survivors of the Holocaust, liberation was both an incredible moment and a devastating one. It marked the beginning of a life-long struggle. Most wanted to go home, but home no longer existed in devastated post-war Europe. Many came to America and wanted to tell people about their experiences but were silenced. “You’re in America now, put it behind you” is what they were told. The women Kean follows became mothers and wives with successful careers, but never fully healed from the scars of the past
Their stories not only show the indelible role immigrants and women played in the history of America during the second half of the 20th century, but also how each of them tried to assimilate, some more successfully than others. In all cases however, what strikes the watcher most about these resilient and inspiring women and what is captured perfectly is this incredible will to survive and a sense of duty they feel to live a full life.
Although AFTER AUSCHWITZ deals with a specific group of survivors, it is universal in the questions it ponders about which relate to moving on after tragedy and adapting to a “normal” life. It’s a story we see repeated by survivors of other genocides – a sad recurring reality that haunts the women in AFTER AUSCHWITZ. Their suffering from post-traumatic stress is also unfortunately universal, as seen in the lives of soldiers coming home from war and even in victims of childhood abuse.
“We normally learn about the Holocaust as if it started with Germany invading Poland, and liberation was the end of it,” says Kean. “Allied soldiers triumphantly told Jews in camps, ‘you’re free, go home.’ But what happened to survivors on the day after liberation? And the day after that? That’s the film I wanted to make. By seeing the world through the eyes of these amazing women, we not only hear unique female voices, we witness stories of resiliency and determination that audiences have never heard before.” Mission accomplished.
This is a rush out and see documentary that is compelling, heart wrenching and inspiring all at the same time.
AFTER AUSCHWITZ opens in Los Angeles on May 4th however for more information about the film, including dates, cities and theaters, visit https://www.AfterAuschwitz.com
Review | Viceroy’s House
At no other point in history has it been more fitting or important to share a story about the dividing of a nation and its people; extreme and differing political views, nations ravished by arguments over religion and ethnic cleansing often feature front and center in the news – only this story is set in India in 1947.
Welcome to the stunning epic of VICEROY’S HOUSE; the true story of Lord Mountbatten (played by Downton Abbey’s Hugh Bonneville) who is dispatched, along with his wife Edwina (played by Gillian Anderson), to New Delhi to oversee the country’s transition from British rule to independence. Taking his place in the magnificent mansion known as the Viceroy’s House, Mountbatten arrives hopeful for a peaceful transference of power. Yet ending centuries of colonial rule in a country divided by deep religious and cultural differences proves no easy undertaking, setting off a seismic struggle that threatens to tear India apart.
The sumptuous period detail created by the director Gurinder Chadha (Bend It Like Beckham) brings to life a pivotal historical moment that re-shaped the world. Indeed, the ramifications of decisions made seventy years ago have led to two nations (India and Pakistan) in a perpetual state of heightened tension with each other since their inception.
It would have been satisfying enough to watch this bygone event unfold through the lens of the Viceroy and his wife yet Chadha, ever an over-achiever, gives us a stirring love story that layers on top. Equally well acted, we experience the forbidden and complicated love story of Jeet a Hindu boy (played by the hundred Foot Journey’s Manish Dayal) and a Muslim girl, Aalia (played by Huma Qureshi) which perfectly demonstrates the impact that decisions made half a world away had on a people that had endured three centuries of colonization by the British.
An heir of this destiny herself, Chadha who describes herself as someone who “grew up in the shadow of partition” took her time to bring this project to fruition and in doing so uncovered some previously unseen documents, “I always got the impression that Partition was our fault, but the documents we found showed us there was already an agenda in place by the British”.
Chadha does a meticulous job of making this Every man’s partition story and as a result no one in this movie is portrayed as either a villain or a hero. Having been reminded by her own family to ensure that the “Mountbatten plan” was exposed, after doing her thorough research about this story, Chadha soon realized that India’s fate had already been sealed by Winston Churchill and that Mountbatten was merely a pawn led to the slaughter, the result of which would be a divided nation with millions of people getting slaughtered themselves in the process. A tailor-made performance by Bonneville will certainly capture the audience’s empathy yet, when questioned about whether this was the desired outcome, Chadha reiterates her goal was to show just “how ill equipped he was to do such a huge task.”
It would be easy to think of this movie as just a political narrative but to do so would be an injustice. Scattered with strong bold women like Edwina and Aalia who represent the heart and soul of the movie, we experience firsthand not only the exciting sights and sounds of India but also the heartache and trauma that many including the Viceroy himself experienced. That along with an often heart wrenching last performance by the inimitable Om Puri makes this a must-see movie
One will easily be transported to another time and place when watching this movie yet when the credits run you can’t help but wonder whether we learned anything from history, given this was one of the largest movements of people from one place to another in the twentieth century.
THE VICEROY’S HOUSE opens on September 1 and is currently available on VOD – check local listings
Full Listing of 2017 Tribeca Film Festival Coverage | #tribeca2017
So there we were, in New York City again, giddy and electric with excitement at the start of another Tribeca Film Festival. #tribeca2017 beckoned. Our annual pilgrimage was upon us.
After having set up base at the Battery Park area for the past several years, this year we made home in a tony Chelsea hotel. And a new ritual was set for the film festival. Get up early, get ready and dressed, grab caffeine and sunrise munchies at one of the neighbourhood establishments and head to the Chelsea Bowties cinemas (in the midst of transition to Cinepolis properties) for the 9 AM first press screening. After making agonizing decisions during the rest of the morning regarding which screenings to catch of the several that were concurrently showing, we typically made our way through four films. Then a bite to eat. Or an early dinner at a strongly recommended restaurant (Paowalla, how you filled us up!). Or a meet up with friends. Then a sundown film screening. After which we returned back sated with all manner of cinematic memories bouncing in our heads. And recorded a podcast in which we discussed all the films we had watched cumulatively amongst the three of us. And Joe, the good man, edited and published the podcast the same night.
After five days of this routine, we got bleary-eyed, as the accumulation of ever more films danced around in our brains. But it was the best kind of exhaustion for us, the kind that comes from watching too many films. As if there is such a thing as “too many movies”.
Before we knew it, it was time to head back to the West Coast. With another deposit to our Tribeca Film Festival memory bank. And ready and eager to back for #tribeca2018. And this year, we had seen 34 films amongst the three of us! It is the most films we have covered at Tribeca to date, and hope to best that tally next year.
So herewith is a full listing of all 34 films we covered at #tribeca2017. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival. But before the full alphabetical listing of the films we covered, here are the top festival favourites from each of us:
Joe’s Top Three Films at the 2017 Tribeca Film Festival
ALPHAGO
A RIVER BELOW
ROCK’N ROLL
Rashmi’s Top Three Films at the 2017 Tribeca Film Festival
GET ME ROGER STONE
ROCK’N ROLL
KING OF PEKING
Yazdi’s Top Three Films from the 2017 Tribeca Film Festival
PERMISSION
PILGRIMAGE
SWEET VIRGINIA
And here is a full alphabetical listing of the films we watched at #Tribeca2017 with links to the Tribeca film descriptions as well as to the specific podcast where each film was discussed:
- A RIVER BELOW, at 24:50 min, Day 3 podcast – Joe’s Top Three Tribeca Pick
- ABUNDANT ACREAGE AVAILABLE, at 11:00 min, Day 1 podcast
- ACORN AND THE FIRESTORM, at 18:57 min, Day 4 podcast
- ALPHAGO, at 29:21 min, Day 2 podcast – Joe’s Top Three Tribeca Pick
- BOMBSHELL: THE HEDY LAMARR STORY , at 29:09 min, Day 4 podcast
- COPWATCH, at 12:14 min, Day 4 podcast
- FLAMES, at 29:44 min, Day 1 podcast
- FLOWER, at 44:01 min, Day 1 podcast
- FRANK SERPICO, at 3:42 min, Day 4 podcast
- GENIUS (television pilot), at 15:58 min, Day 1 podcast
- GET ME ROGER STONE, at 7:45 min, Day 4 podcast– Rashmi’s Top Three Tribeca Pick
- HOLY AIR, at 20:18 min, Day 1 podcast
- HOUSE OF Z, at 30:54 min, Day 3 podcast
- KEEP THE CHANGE, at 36:33 min, Day 1 podcast
- KING OF PEKING, at 25:42 min, Day 1 podcast – Rashmi’s Top Three Tribeca Pick
- LITERALLY, RIGHT BEFORE AARON, at 20:14 min, Day 3 podcast
- MY FRIEND DAHMER, at 8:10 min, Day 2 podcast
- ONE PERCENT MORE HUMID, at 12:13 min, Day 2 podcast
- PERMISSION, at 4:43 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
- ROCK’N ROLL, at 44:51 min, Day 3 podcast– Joe’s Top Three Tribeca Pick
- PILGRIMAGE, at 38:53 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
- SHADOWMAN, at 23:57 min, Day 2 podcast
- SON OF SOFIA, at 46:25 min, Day 2 podcast
- SWEET VIRGINIA, at 17:31 min, Day 2 podcast – Yazdi’s Top Three Tribeca Pick
- THE BOY DOWNSTAIRS, at 24:24 min, Day 4 podcast
- THE CLAPPER, at 1:50 min, Day 4 podcast
- THE ENDLESS, at 41:09 min, Day 2 podcast
- THE HANDMAID’S TALE (television pilot), at 36:15 min, Day 2 podcast
- THE LAST ANIMALS, at 15:10 min, Day 3 podcast
- THE LOVERS, at 34:57 min, Day 3 podcast
- THIRST STREET, at 2:07 min, Day 2 podcast
- THUMPER, at 6:02 min, Day 1 podcast
- SAMBA, at 2:54 min, Day 1 podcast
- TILT, at 13:05 min, Day 3 podcast
Until next year, goodbye Tribeca!
Strike A Pose | Review

LEVEL UP | Review

Septembers of Shiraz | Review
If you are feeling a touch of summer sequelitis and looking for something powerful and thrilling to watch then SEPTEMBERS OF SHIRAZ is an important must see movie.
Set during the 1979 revolution in Iran SEPTEMBERS OF SHIRAZ is the harrowing story of a secular Jewish family as they fight for their lives in an attempt to escape what is going on around them. Based on true events with poignant and affective performances by Academy Award® winner Adrien Brody, and Academy Award® nominees Salma Hayek-Pinault and Shohreh Aghdashloo, SEPTEMBERS OF SHIRAZ illustrates the impact of political upheaval on ordinary people and gives us an incisive examination of a troubled moment in history.

Expertly directed by Wayne Blair this movie brings droves of tension in what ultimately becomes an adrenalin charged cat-and-mouse battle of wills. SEPTEMBERS OF SHIRAZ is moving and both topical and relevant to current world events. In revealing what many families sadly encountered over 35 years ago, the genius of this movie lies in its ability to relate the events of that time to experiences that are tragically being suffered by many in a number of countries around the globe today.
The movie cleverly reminds us that the victims of one political party’s agenda versus another are the very people who are promised their protection whilst the accompanying pollution of such communities who ultimately get divided by religion, class and economic factors often end up being the casualties of promised revolutions.
Full listing of 2016 Tribeca Film Festival Coverage
What joy it was to watch film after film at the 2016 Tribeca Film Festival #Tribeca 2016. Sometimes five, six films in a day. We were happy as pigs in mud. Rolling around in the excellently curated selections at the festival. Our third consecutive year covering Tribeca proved a dizzying blast as between the three of us, we saw 27 films in four days at the festival. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival.
Here is a full alphabetical listing of the films we watched at #Tribeca2016, with links to the podcast where each film was discussed:
- AFTER SPRING, at 31:06 min, Day 2 podcast
- AWOL, at 12:38 min, Day 3 podcast
- BAD RAP, at 10:10 min, Day 5 podcast
- THE BANKSY JOB, at 2:03 min, Day 5 podcast
- DETOUR, at 5:45 min, Day 4 podcast
- THE DEVIL AND THE DEEP BLUE SEA, at 1:45 min, Day 2 podcast
- DO NOT RESIST, at 7:27 min, Day 2 podcast
- DON’T LOOK DOWN, at 25:20 min, Day 2 podcast
- ENLIGHTEN US: THE RISE AND FALL OF JAMES ARTHUR RAY, at 28:56 min, Day 5 podcast
- THE FAMILY FANG, at 14:40 min, Day 1 podcast
- THE FIRST MONDAY IN MAY at 4:30 min, Day 1 podcast
- HERE ALONE, at 30:17 min, Day 3 podcast
- HOUSTON, WE HAVE A PROBLEM, at 11:14 min, Day 4 podcast
- HUNT FOR THE WILDERPEOPLE, at 27:59 min, Day 1 podcast
- I’LL SLEEP WHEN I’M DEAD, at 24:00 min, Day 3 podcast
- JEREMIAH TOWER: THE LAST MAGNIFICENT, at 24:54 min, Day 5 podcast
- KEEP QUIET, at 12:34 min, Day 2 podcast
- LITTLE BOXES, at 33:57 min, Day 3 podcast
- LIVE CARGO, at 9:16 min, Day 3 podcast
- THE LONER, at 17:20 min, Day 5 podcast
- THE MEDDLER, at 4:48 min, Day 1 podcast
- MOTHER (EMA), at 21:58 min, Day 1 podcast
- PARENTS (FORAELDRE), at 19:12 min, Day 3 podcast
- PISTOL SHRIMPS, at 18:45 min, Day 2 podcast
- SHADOW WORLD, at 15:24 min, Day 4 podcast
- WOMEN WHO KILL, at 2:00 min, Day 3 podcast
- YOUTH IN OREGON, at 1:20 min, Day 4 podcast
Until next year, goodbye Tribeca.