Featured Films Archives – Page 4 Of 65

Greg Laemmle’s Top Ten Movies of 2025

December 31, 2025 by Lamb Laemmle 1 Comment

I’m still trying to make sense of 2025. The year in general, and the year in film. After the pandemic shut down and the Hollywood strikes, the mantra for many in the exhibition business was to, “survive to ’25,” with the feeling that this was the year we would get past the hangover of those twin impacts. But sadly, the year ended up being marked by a number of Hollywood films that provided more hype than actual entertainment. On top of that, a number of indie and art films – in my opinion – suffered from filmmaker overreach. I’m hoping that in 2026, producers (and editors) will feel empowered to rein in some of this, so that audiences can get more films that are both enjoyable and illuminating.

As for overall trends, the North American box office is going to come in just shy of $9 billion. It would have been nice to cross that number, but we did get close, and we did have a slight increase over 2024. Numbers are still down about 20% (plus or minus) on pre-pandemic levels, but showing some strength. People still want to see movies in movie theatres. There just needs to be a more consistent supply of diverse genres to engage different audiences. Maybe we can get there in 2026. Or maybe we will see a further decline in production as we see one of our legacy studios get folded into another company.

: Frankenstein

I still love seeing movies in a movie theatre. I believe there are others like me out there. As I type this, people are buying tickets to see Guillermo del Toro’s FRANKENSTEIN and the latest Knives Out installment, WAKE UP DEAD MAN even though these pictures have been out on platforms for weeks. Why? Because the best way to see a movie is in a movie theatre. You’re not escaping into another world when you sit on your couch. That’s more like hiding from reality. Getting out of the house. Sharing space with strangers. Fully turning yourself over the storyteller. That’s what happens when you see a movie the way it is meant to be seen. So thank you to those who are back regularly. And to those who haven’t fully returned, this is a good time to resolve to try something different in the new year.

For me (and in alphabetical order), here were the Top 10 movies of 2025.

ALL THAT’S LEFT OF YOU – Filmmaker Cherien Dabis has every reason to be angry about how her family was displaced during Israel’s 1948 War of Independence. And to be sure, there is pain and anguish in her multi-generational tale that spans 70 years in a family story. But there is also more understanding and empathy than I can recall in any other film on the same subject. And with three members of the Bakri family in key roles, including the amazing Mohammad Bakri who recently passed away, the film provides a master class in acting. Shortlisted for the Best International Feature Oscar, this one is, in my opinion, the finest foreign language film of the year.

BLACK BAG – There’s something deeply satisfying about seeing a master filmmaker craft a well-oiled genre picture. And in BLACK BAG, Steven Soderbergh is at the top of his game. This tightly paced spy thriller may not have a lot to say about world affairs and such. But at just a hair over 90 minutes, the film is tightly constructed, well acted, and a fun watch.

: Blue Sun Palace

BLUE SUN PALACE – A beautiful film about the loneliness and displacement of the immigrant experience. The film features a trio of amazing performances, led by veteran actor Lee Kang-sheng, and marks first time director Constance Tsang as someone to watch.

DEAD MAN’S WIRE – Where many veteran directors delivered interesting but bloated films this year, director Gus van Sant, working from a terrific script by Austin Kolodney, reminds us with DEAD MAN’S WIRE what a terrific filmmaker he is. Based on a true story of an armed kidnapping, the film is packed with great acting, led by Bill Skarsgard in the lead role. So far, this one hasn’t gotten a lot of Oscar buzz. But it deserves it, so I encourage you to search it out as it goes wider in January.

DON’T LET’S GO TO THE DOGS TONIGHT – Veteran actress Embeth Davidtz worked both behind and in front of the camera with this story of white farmers in post-colonial Rhodesia. Based on a popular memoir by Alexandra Fuller, the film features perhaps the year’s best performances by a child actor.

: Ghost Trail

GHOST TRAIL – One of the year’s moviegoing highlights for me was catching this film in March at a Rendezvous With French Cinema screening at the Film Society of Lincoln Center. Director Jonathan Millet, a documentarian making his first feature, delivers a Hitchcockian thriller with this story of a Syrian refugee in France trying to track down their former torturers from the Assad regime. Ignored by major critics, this one truly deserves another look.

THE PLAGUE – Charlie Polinger’s debut feature really floored me. Working with a cast of unknown young actors, Polinger tells a story of pre-adolescent bullying that is deeply resonant of his experiences as a kid, but also with much to say about our current political and cultural moment. With great cinematography, some of the year’s best sound design, and other technical achievements, this may be the one of the best debut features of the year.

PREDATORS – My favorite documentary of the year. Since it didn’t make the Academy’s short list, I guess I didn’t see enough docs this year. Or maybe this film was just hit some viewers in an uncomfortable way. While the film does not spare from scrutiny the folks who created the To Catch a Predator TV-series, it also confronts us as audience members with our role in turning the pursuit of justice into entertainment.

: A Private Life

A PRIVATE LIFE – A curious blend of romance, mystery and comedy, Rebecca Zlotowski’s French-language picture may not be the tightest film of the year story-wise. But I still found enough to enjoy that I saw it twice, and am ready to go back for a third helping. Stars Jodie Foster and Daniel Auteuil have perhaps the best on-screen chemistry of any screen couple this year, delivering a totally believable portrayal of a divorced couple rekindling the spark.

SORRY, BABY – Distributor A24 is ending the year on a high note with the box office success of MARTY SUPREME. But for me, this is the best film they had on their schedule in 2025, and I just wish they had been able to get more people to see when it came out in the summer. Eva Victor writes, directs and stars in this comedy, which deftly combines humor with a dark and difficult storyline.

: Song Sung Blue

Honorable Mentions – RENTAL FAMILY and SONG SUNG BLUE . Telling a sentimental story on screen may seem like something easy. But it isn’t. The Hallmark Channel may have a monopoly on telling formulaic stories, but these two films delight in appealing to our emotions without being manipulative or insulting. I encourage you to see them both. And it’s OK if you get a little misty eyed. We all need a good cry every now and then.

–Greg Laemmle.

Chlorinated Cruelty in Charlie Polinger’s The Plague

December 23, 2025 by Lamb Laemmle 1 Comment

In The Plague, writer-director Charlie Polinger delivers a bracing, tactile descent into adolescent cruelty and contagion, crafting a horror film that feels less interested in jump scares than in the slow seep of dread. Set within the pressure-cooker ecosystem of a boys’ water polo camp, the film uses genre as a prism, refracting familiar rites of passage into something diseased, hallucinatory, and quietly devastating. With its brutal group dynamics, The Plague often feels like a modern, chlorine-soaked Lord of the Flies, where social order erodes not on some remote desert island but in plain sight.

Tune into Inside the Arthouse to catch writer-director Charlie Polinger discussing his debut film with co-hosts Greg Laemmle and Raphael Sbarge ahead of its release on December 24th at the Laemmle Royal.

From its opening moments, The Plague announces its intentions through sound and image. Polinger’s approach is intensely sensory, and nowhere is that clearer than in his score, which pulses with a discordant, off-kilter rhythm. Rather than underlining emotions, the music destabilizes them, oscillating between menace and melancholy while subtly complementing the film’s meticulous sound design: splashes echo too loudly, breathing feels amplified, and the ordinary acoustics of locker rooms and pool decks take on an oppressive weight.

Visually, The Plague is just as unsettling. The cinematography leans into sickly color palettes and claustrophobic framing, transforming sunlit pools and suburban spaces into arenas of quiet menace. Polinger and his cinematographer repeatedly trap characters at the frame’s edge or obscure them behind bodies, water, or architecture, reinforcing the film’s fixation on hierarchy and exclusion.

The cast grounds the film’s escalating unease with remarkable precision. Joel Edgerton brings a coiled intensity to his role as an authority figure whose presence looms larger than his screen time, embodying the institutional blindness that has allowed such abuse to metastasize. The younger ensemble, led by Everett Blunck and Kayo Martin, delivers performances of unnerving authenticity, capturing the volatility of adolescents caught between bravado, fear, and complicity. Their interactions reveal how quickly cruelty can become currency in closed systems, and how survival often depends on knowing when to look away.

That cruelty manifests most explicitly through the film’s body horror, which Polinger deploys with remarkable restraint. The physical affliction at the center of The Plague is never treated as spectacle for its own sake; instead, it becomes a grotesque metaphor for how shame and violence spread when left unchecked, infecting bodies and communities alike.

By the time The Plague reaches its unsettling conclusion, it has established Polinger as a filmmaker with a precise command of mood and an unflinching eye for social rot. Anchored by its inventive score and unnerving cinematography, the film lingers long after its final frame, less like a scream than an infection you can’t quite shake.

“An eerie sense of unreality runs through The Plague… Polinger uses horror conventions to tease out the psychic terror and intimidation of pre-teen social codes.” – Lovia Gyarkye, The Hollywood Reporter

“A film that harnesses its many offbeat and potent powers in service of a unique strain of reassurance.” – Sophie Monks Kaufman, IndieWire

Laemmle Holiday Gifts: Wear Your Love of Cinema (Literally)

December 10, 2025 by Lamb Laemmle Leave a Comment

As the year winds down and the hunt for the perfect gift ramps up, we’re delighted to remind you that you can always give the joy of movies, the comfort of good merch, and a slice of the Laemmle spirit you can wear, wrap, or swipe at the box office. Whether you’re shopping for a devoted cinephile(s) in your life or simply indulging in a little self-treating (highly encouraged), our 2025 line of Laemmle merchandise and gift cards is here just in time for the holidays.

Men’s T-Shirt If you’re afraid of subtitles, don’t even talk to us about film. If you’re not afraid, you belong both in a Laemmle auditorium and in this shirt! Soft, lightweight, and flattering, this tee is crafted from 100% combed and ring-spun cotton (with some polyester in the Heather colors) and has just the right amount of stretch to be comfortable enough for marathon screenings as well as stylish enough for post-film debates.	Women’s T-Shirt This just might be the softest, most comfortable women’s tee you’ll ever own! With a relaxed fit, smooth fabric, and multiple cotton-poly blends depending on color, it’s effortless to style: jeans for everyday, a blazer for business casual, anything for the movies. Pre-shrunk, side-seamed, and easy to love.

Laemmle Hoodie When the lights dim, the temperature drops. Our Laemmle hoodie offers warmth, coziness, and a minimalist cinema-kid aesthetic. Made with a 100% cotton face and a 65/35 ring-spun cotton/polyester blend, it features a front pouch pocket, matching drawstrings, a 3-panel hood, and a self-fabric patch on the back. One note: They do run small, so consider ordering one size up! They’re produced on demand to reduce overproduction, so order yours before you need it.	Laemmle Hat Low-profile, unstructured, and endlessly wearable, this hat is made from 100% chino cotton twill with six embroidered eyelets and an adjustable strap with antique buckle. It’s the perfect topping for any outfit, whether your style leans auteur-casual or projection-booth chic. Like our hoodies, it’s produced on demand, which means each one is made just for you.

Laemmle Gift Cards

A classic for a reason. Available from $25 to $100, Laemmle Gift Cards can be used for movie tickets, concessions, merchandise—anything we sell at our theaters or online at Laemmle.com. They’re a splendid present for anyone who loves arthouse cinema, eclectic programming, or the simple magic of the theatergoing experience.

The Premiere Card

If Gift Cards are lovely, the Premiere Card is almost suspiciously generous. Pre-loaded with $100 to spend at any Laemmle location or online, it’s the single best deal in cinema today. Cardholders get $3 off every ticket on all regular programming, 20% off concessions, and one free popcorn every Thursday. Think of it as buying a gift card for yourself—or as giving a friend the keys to the kingdom.

Let us know which items you are interested in! Whether you’re gifting, receiving, or simply treating yourself to a little cinematic flair, Laemmle merch and cards bring the theater experience into daily life. After all, loving movies isn’t just a pastime—It’s a lifestyle. And now, it can be a wardrobe, too.

Happy Holidays!

– Your friends at Laemmle Theatres

store.laemmle.com

#NotAfraidOfSubtitles

Anniversary Classics Presents: Power, Politics, and Passion in Nixon and Doctor Zhivago

December 2, 2025 by Lamb Laemmle Leave a Comment

This holiday season, Laemmle Theatres and the Anniversary Classics Series present two sweeping cinematic epics: Oliver Stone’s Nixon and David Lean’s Doctor Zhivago, the latter celebrating its 60th anniversary. Though separated by three decades and worlds apart in style, these films form a captivating double feature: one a feverish psychological portrait of American power, the other an expansive romantic epic set against the convulsions of revolutionary Russia. Together, they reflect cinema’s enduring ability to illuminate the human stakes behind history’s most turbulent eras.

Get your tickets today to see Nixon on December 21st, featuring an in-person Q&A with director Oliver Stone alongside author Tim Grieving to discuss his new book on legendary composer John Williams, or Doctor Zhivago on December 30th, both playing at the Laemmle Royal.

Oliver Stone’s Nixon (1995) remains one of the filmmaker’s boldest achievements. Rather than approaching Richard Nixon as a political symbol, Stone crafts a bruised, haunted character study of a man who carried childhood wounds into the Oval Office. Anthony Hopkins delivers a mesmerizing performance as Nixon, capturing him in all his yearning, paranoia, cunning, and profound isolation. Then there’s John Williams’ brooding, elegant score, which guest speaker Tim Grieving argues ranks among the composer’s most underrated works. His and Stone’s post-screening conversation promises an illuminating look into the film’s creation, its political resonance, and the musical architecture that gives it shape.

Seen nearly three decades after its release, Nixon feels startlingly contemporary, its themes of secrecy, ambition, partisan rage, and the weight of personal demons on public decision-making continuing to echo. Stone’s approach, blending documentary grit with operatic intensity, constructs not a straightforward biopic but a cautionary American tragedy.

If Nixon examines a presidency from the inside out, Doctor Zhivago (1965) offers a radically different but equally powerful meditation on individuals swept into history’s path. Even sixty years after its making, David Lean’s adaptation of Boris Pasternak’s Nobel Prize–winning novel remains one of cinema’s most beloved epics: a story of love, revolution, and moral endurance set during Russia’s collapse into modernity. Omar Sharif gives one of his finest performances as Yuri Zhivago, a poet and physician who is forced to navigate the conflicting directives of loyalty, passion, and survival, while Julie Christie’s luminous turn as Lara elevates the film into mythic territory.

Lean’s filmmaking—full of painterly compositions, sweeping landscapes, and meticulous craftsmanship—creates a world that feels both intimate and vast. The film’s visual grandeur is matched by Maurice Jarre’s iconic score, whose themes have become synonymous with cinematic romance. Yet for all its beauty, Doctor Zhivago is fundamentally a story about how political upheaval reshapes the contours of private life, and how love endures even as the world fractures.

Screened across consecutive weekends at the Laemmle Royal, these Anniversary Classics invite audiences to rediscover the emotional, historical, and artistic power of these two landmark films. Whether exploring the shadows of American politics or the passions of a Russia in revolt, Nixon and Doctor Zhivago remind us why great cinema remains one of the profoundest tools we have for understanding both our past and our present.

Painting Change: Inside the Uplifting World of Artfully United

October 14, 2025 by Lamb Laemmle Leave a Comment

More than a decade in the making, Artfully United traces the work of Mike Norice, a Los Angeles muralist whose expansive, colorful pieces are not just art, but acts of reclamation in neighborhoods too often shut out from visibility and voice.

Catch Artfully United in theaters beginning October 17th at the Laemmle Glendale, highlighted by an in-person Q&A with both Mike Norice and producer Christopher Walters following the 7:45pm showing, moderated by radio personality Tammi Mac.

Chris Walters first met Norice thirteen years ago in the latter’s boutique on Melrose Avenue, an encounter that ignited a collaboration and a creative mission that would persist across time, geography, and mutual adversity. Together with director Dave Benner, Walters follows Norice from his roots in Watts through dozens of cross-country trips and prolonged mural projects, capturing not only the final painted walls but the sweat, doubt, and resolve that underlies each stroke.

Rooted as much in quiet reflection as in sweeping public murals, the film traces how Norice’s life shaped his art, from a childhood marked by a teacher mother and an incarcerated father to the spiritual and communal values that serve as guideposts in the creation of art that feels both profoundly personal and powerfully collective. Each mural becomes a gathering place, a message, and a mirror—echoes of hope, defiance, and renewal painted across the city’s worn walls.

Visually, Artfully United doesn’t shy away from spectacle. Murals tower and sprawl, color bursts through grime, and entire city blocks become open-air galleries. But the film also balances those sweeping images with moments of presence and proximity: Norice selecting his palette, a neighbor’s quiet response to a newly finished mural, hands smeared with paint beneath a muted dusk light. These smaller moments anchor the film emotionally, reminding us that transformation is not only seen, but felt.

Walters has called the journey “the experience of a lifetime,” crediting Norice’s artwork, activism, and faith for inspiring communities in Los Angeles and beyond. When the credits roll, viewers will recognize that Norice’s murals are more than just decorations; they are living gestures of solidarity, symbols of what art can be when it reaches beyond aesthetics into the realm of belonging.

Ultimately, Artfully United is more than a portrait of its artist. It is a meditation on place, loss, renewal, and how visual creativity can become a force for collective healing, demonstrating how much stronger spirits can become when we prioritize beauty in the unlikeliest of places.

“A powerful documentary about art, transformation, and the enduring strength of community.” – Jon Stojan, LA Weekly

With Predators, award-winning documentarian David Osit revisits this cultural phenomenon and its complicated legacy

September 25, 2025 by Lamb Laemmle Leave a Comment

True crime has rarely blurred the line between public service and spectacle so sharply as in NBC’s To Catch a Predator. Running from 2004 to 2007, the controversial series lured would-be sexual predators into sting operations before subjecting them to a primetime confrontation with journalist Chris Hansen. What followed provided justice and entertainment in equal measure: police officers waiting outside, television cameras rolling, and millions of viewers at home consuming humiliation as moral catharsis.

With Predators, award-winning documentarian David Osit (Mayor, The Gaza Fixer) revisits this cultural phenomenon and its complicated legacy. The film is less about rehashing the show’s format than about interrogating why it captured such an enduring grip on the American psyche—and what that says about us as viewers.

Tune into Inside the Arthouse to hear Osit discuss his latest project with co-hosts Greg Laemmle and Raphael Sbarge ahead of its release at the Laemmle Royal on September 26th.

Osit’s documentary unfolds across three carefully structured chapters. The first examines To Catch a Predator itself: the young actors cast as decoys, the police officers forced to wrestle with blurred responsibilities, and the legal experts made to reckon with whether law enforcement was working for the public good or for network ratings. The second chapter tracks the rise of copycat vigilantes who migrated the formula to YouTube, where humiliation was pursued less as deterrence than as content. Finally, Osit confronts Hansen himself, who continues his decades-long pursuit through his streaming show, Takedown, still unwavering in his belief that the ends justify the means.

Unlike ancient Greek tragedy, where audiences are steered to identify with the doomed hero and feel pity and fear as he meets his fate, To Catch a Predator encourages the exact opposite response: distancing, finger-pointing, and the smug satisfaction of seeing a wholly externalized evil be exposed.

What sets Predators apart from its source material is Osit’s refusal to sanitize the moral ambiguity inherent in his subject matter. Rather than casting the titular predators as irredeemable monsters or Hansen as an unassailable hero, the film probes the ethical gray areas: Can public shaming really lead to rehabilitation? Where does journalism end and law enforcement begin? And finally, what risks and/or culpability does the audience take on by repeatedly consuming real human disgrace as blasé entertainment?

Ultimately, Predators emerges as a gripping, unsettling study of modern media, ethics, and justice, challenging audiences to reflect on their own complicity in a culture that so often confuses accountability with spectacle.

“An absolutely fascinating watch. One of the most talked-about entries at this year’s Sundance Film Festival.” – David Fear, Rolling Stone

“A raw and riveting documentary that skeptically re-examines the program’s appeal, legacy, and ethicality.” – David Ehrlich, Indiewire

“Osit’s brilliant, subtly needling film leaves us unnerved and alert, but not certain of our convictions — an outcome, perhaps, that more true-crime programming should pursue.” – Guy Lodge, Variety

In her latest documentary Democracy Noir (2024), Oscar-nominated director Connie Field turns her lens on various resistance movements against Hungarian Prime Minister Viktor Orbán and his ruling Fidesz party.

September 4, 2025 by Lamb Laemmle Leave a Comment

In her latest documentary Democracy Noir (2024), Oscar-nominated director Connie Field turns her lens on various resistance movements against Hungarian Prime Minister Viktor Orbán and his ruling Fidesz party.

Tune into Inside the Arthouse to hear Field discuss her latest project with co-hosts Greg Laemmle and Raphael Sbarge ahead of its release in NYC on September 5th and Los Angeles on September 19th.

Field—who rose to prominence following the release of her acclaimed 1980 documentary, The Life and Times of Rosie the Riveter—returns to guide viewers from Orbán’s initial rise to power in 2010 to the grassroots protests of 2023, exploring how autocrats secure power within democratic systems while demonstrating in real time the crucial role of resistance.

In her efforts to ground this story in the here and now, Field skillfully intertwines the stories of three Hungarian women activists: Tímea Szabó, a prominent opposition leader; Nikoletta Antal, a passionate young protest organizer and nurse; and Babett Oroszi, an award-winning journalist who’s been silenced by Orbán’s totalitarian control over the media. While the documentary never shows these women interacting, it transitions seamlessly from one to the next, highlighting the overlapping nature of their struggles.

Ultimately, the film manages to avoid reducing Orbán’s regime to a simple good vs. evil narrative, offering a sharp critique of Orbán and his party while refraining from demonizing his supporters en masse. This nuanced approach is reflected in the personal stories of the activists, whose political lives are more complicated than one might expect. Antal, for instance, is fiercely anti-Orbán, yet her mother sees Orbán’s policies as a source of security. Similarly, Oroszi, who initially voted for Orbán in 2010, interviews rural Fidesz supporters, trying to understand their motivations while also confronting homophobic attacks on herself and her wife. These personal narratives enrich the film, offering poignant depictions of the political divisions that can run through families—not just in Hungary, but all the world over.

Through these diverse perspectives, Democracy Noir paints a grim yet resonant picture of how Orbán’s government undermines Hungary’s democratic institutions. Rather than focusing on overt acts of violence or authoritarian crackdown, the film shows how the government gradually erodes democratic structures: rewriting the constitution, stacking the Constitutional Court with loyalists, and consolidating control over the media—subtle, systemic manipulations that often go unnoticed by Orbán’s most devout supporters. For many (if not most) Hungarians, life goes on as usual.

This film is not a how-to manual for resisting autocracy, particularly in the context of the U.S. Nevertheless, Democracy Noir offers an essential, firsthand look at how democracy can backfire, making it a crucial watch for anyone invested in the future of democratic societies.

“This documentary immerses you in a profoundly moving struggle against the tide of authoritarianism led by a trio of extraordinary women.” – Chris Jones, Overly Honest Reviews

“I want to show the soft parts of the people who look like me. I want to show the sensitive bits that show up, not when we are in danger or inferior but when we are in love.” Rachael Abigail Holder on representing Blackness in her new film, LOVE, BROOKLYN.

August 24, 2025 by Jordan Deglise Moore Leave a Comment

In Rachael Abigail Holder’s new romantic drama, Love, Brooklyn, three longtime Brooklynites navigate careers, love, loss, and friendship against the rapidly changing landscape of their beloved city. We are proud to open the film September 5 at the Laemmle Royal and Glendale.

Ms. Holder wrote the following about Love, Brooklyn:

“On a bike ride, when the sun shines and the breeze hits my face, I can easily cry at the beauty in the ordinary. I am a highly sensitive person. I also happen to be Black. When I first read the script, I saw a timeless story about the wrestle that is love, and I also saw myself. The screenplay was written by Paul Zimmerman about the relationships he had while he was young. But I pictured Black people and the present day. As a filmmaker, I want to tell stories about sensitive Black people who cry and feel, in life not tragic or saccharine. What I read felt like the perfect story.

“I was seven months pregnant during production. When my now eleven-month-old baby hears music in a minor key, or if my extended family and I, which we often do, sing in unison, she will tear up. It is easy for her to deeply soften. I am proud of our movie because it is a story about people with brown skin who soften easily. I hope to expand the representation of what it means to be Black and what’s cool about this moment of inclusion in storytelling is that I don’t have to try to represent Blackness as a whole or all Black people. I can be really specific with how I see people, how they love, hide from love and ultimately show up for it. I want to show the soft parts of the people who look like me. I want to show the sensitive bits that show up, not when we are in danger or inferior but when we are in love.”

“A low-key romantic odyssey that simmers with intimate heat while acting as a loving character study of the beloved, always evolving neighborhood.” ~ Murtada Elfadl, Variety

“Brooklyn has never looked lovelier than in Holder’s soulful debut.” ~ Elizabeth Weitzman, TheWrap

“Love, Brooklyn is a charming and thoughtful meditation on love and change in a city that never stays the same.” ~ Roberto Tyler Ortiz, Loud and Clear Reviews

"I want to show the soft parts of the people who look like me. I want to show the sensitive bits that show up, not when we are in danger or inferior but when we are in love." Rachael Abigail Holder on representing Blackness in her new film, LOVE, BROOKLYN.

“This is such a beautiful discovery, and I had such a warm & wonderful experience watching this at its world premiere at Sundance.” ~ Alex Billington, FirstShowing.net

“Love, Brooklyn is an intricate and beautifully crafted work of art that’s quietly meditative and lovingly told.” ~ Mae Abdulbaki, Screen Rant

“Although it operates on a generally low boil, Love, Brooklyn comes to resemble the pot of water on the stove that starts out feeling like a warm bath and the result ends up sizzling.” ~ Stephen Saito, Moveable Fest