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A still from I Didn't See You There, in which a man in a wheelchair is seen silhouetted as a reflection in a glass panel, his silhouette eclipsed by the looming figure of a red and yellow circus tent. The text on the image reads, 'Review'.

Orla Smith / January 24, 2022

I Didn’t See You There shows you the world through a disabled filmmaker’s eyes

Reid Davenport’s personal essay film, I Didn’t See You There, radically questions the way disabled people have historically been presented in the media.

In a still from Girl Picture, one teenage girl leans on her friend as both look in the mirror. Next to this still is a purple block featuring white text that reads, 'Quick thougts,' above a cartoon drawing of a pen drawing a line on a page.

Orla Smith / January 24, 2022

Quick thoughts from Sundance: Girl Picture is a World Dramatic highlight

Alli Haapasalo’s Girl Picture is a delightful Finnish coming-of-ager which takes teenage girls, their sexuality, and their trauma seriously.

A still from Fresh, in which a young woman and an older man sit together at a damily lit bar. The text on the image reads, 'Review'.

Orla Smith / January 23, 2022

Fresh Review: A blunt, entertaining horror film about dating

An excellent Daisy Edgar-Jones stars in Fresh, a horror film about a woman plunged into a terrifying situation after dating a charming older stranger.

Alex Heeney / January 23, 2022

Happening looks at the culture of shame around abortion

Audrey Diwan’s Happening follows a young woman’s journey in the 1960s to even find a backstreet abortionist amidst a culture of shame and silence.

Alex Heeney / January 22, 2022

Riley Stearns’s Dual is a blackly comic light sci-fi

Riley Stearns’s Dual is a surprisingly thoughtful look at chronic illness inside a dark comedy about future with clones. Read all of our Sundance 2022 coverage here.

Seventh Row Editors / January 20, 2022

Ep. 36: Never Rarely Sometimes Always and abortion on screen

Inspired by Eliza Hittman’s new drama, Never Rarely Sometimes Always, we discuss various depictions of abortion on screen ranging from this year’s Saint Frances to Obvious Child and 4 Months, 3 Weeks, and 2 Days. For this discussion, Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith and guest Lindsay Pugh of Woman in Revolt.

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