DOC NYC 40 UNDER 40 Class of 2024

IndieWire, 2024: “DOC NYC Unveils 40 Under 40 List of Filmmakers to Watch”

On An American Bombing

The New York Times, 2024: “…It’s a trip into the past that’s also a rendezvous with the present and a warning about the future.” —Frank Bruni

The Guardian, 2024: “We’re in such a different place in terms of the acceptance of extremism and, in polls at least, the American public’s acceptance that violence can be legitimate in pushing for political change. That inspired us to, say, OK, we’re going to go back and tell this story to a new generation but we’re going to try to put it in this bigger context because it’s more than just a ticktock. It’s more than just a crime story. It has the roots of what we are dealing with now.” —David Smith interviews Marc Levin

The Wall Street Journal, 2024: “What [the film does], while justifying nothing, is separate the righteously angry from the opportunistic and the people with legitimate grievances from the exploiters of those grievances. They show how, almost inevitably, an anti-government movement allied itself with hate groups of every stripe.” —John Anderson

On The Today Show, 2024

On The Slow Hustle

Decider, 2021: “The Slow Hustle is one of the best documentaries of the year.”

“…combines elements from two of today’s most prevalent documentary subgenres, true crime and social justice, strips them of overt cliches and sensationalism, and pieces together a taut, fascinating narrative…shows a seasoned journalist’s instinct for conveying incisive detail…and incorporating multiple voices without sacrificing clarity.” —John Serba

The Guardian, 2021: “Underpinning it all is a Wire-style critique of institutions, in particular a police department so hollowed out by corruption that even the attempt to solve the death of one of its own is met with insurmountable doubts.” —David Smith

NPR’s All Things Considered, 2021: “I believe that this film substantiates further in a different way how broken the structure of law enforcement is…it's really about creating a new structure for public safety, in a time where Americans across the board are…triggered by law enforcement.” —Adrian Florido interviews Sonja Sohn

IndieWire, 2021: “…powerful look at the continued corruption in the world of the Baltimore police department and the activists who seek to expose it.” —Kristen Lopez

Consequence of Sound, 2021: “What was happening here says something larger about society, about humanity, and law enforcement.” —Liz Shannon Miller interviews Sonja Sohn

Salon, 2021: “I think people should watch the film to truly understand the other side of policing.” —D. Watkins

Women and Hollywood, 2021: “…paints a damning — and yes, shocking — picture.” —Laura Berger

Washingtonian, 2021: “…very precise and carefully constructed.” —Andrew Beaujon

On Baltimore Rising

Harper’s Bazaar, 2020: “...an urgent portrait of anger, activism, and the power of both.” —Ariana Marsh

Esquire, 2019: “Baltimore Rising will expose you to the greater picture of the aftermath, giving a nuanced perspective of an event that shook the social and political landscape of the country.” —Isabella Garces

Los Angeles Times, 2017: “It’s a powerful film because it’s a human one…you can feel the weather, the space that extends beyond the image.” —Robert Lloyd

IndieWire, 2017: “…a vital portrait of activism, anger, and a city’s search for justice and healing…” —Steve Greene

Bloomberg CityLab, 2017: “HBO Revisits the Baltimore Uprising: The activists at the center of a new documentary talk about the fate of the city’s struggling police reform efforts.” —Brentin Mock

The Baltimore Sun, 2017: “…documentary filmmaking at its best…head of the class.” —David Zurawik

On Another Way of Living

Bloomberg CityLab, 2016: “Why Reston, Virginia, Still Inspires Planners 50 Years Later: A new documentary traces how the D.C. suburb’s pedestrian-centric, mixed-use approach came to dominate urban design.” —Julian Spector

The Washington Post, 2016: “A film tells the history of Reston, the boundary-shattering planned Va. town” —John Kelly