How SINephile Maintains Reader-Funded, Industry-Free Film Criticism

Editorial Independence

SINephile operates with full editorial independence from the film industry, streaming platforms, and corporate media. We do not accept:

• Review payments

• Paid placements

• “For Your Consideration” perks

• Sponsored content disguised as editorial

All opinions are formed without pressure — financial, social, or algorithmic.

We write for the reader, not the roll-out schedule.

Reader-Funded by Design

While SINephile may offer optional paid memberships in the future, the site will always remain free to read.

Any paid tier will unlock additional value — such as early access, behind-the-scenes extras, or influence over which films we cover (never how we cover them). But core reviews and essays will never live behind a paywall.

The first and only loyalty here is to the reader.

Conflict of Interest Policy

We disclose past professional affiliations when they may provide helpful context.

Occasionally, we may write about films connected to past work — including editorial, publicity, or archival contributions to releases from institutions like The Criterion Collection. In these cases, our involvement is clearly noted.

We do not review films in which we or close collaborators had a direct creative or business stake, and we recuse ourselves from coverage where personal bias may cloud judgment.

Criticism is only meaningful when it’s independent — and only trustworthy when it’s transparent.

Screenings & Embargoes

While SINephile aims for depth rather than breadth and doesn’t aim to cover all new releases, we occasionally attend advance screenings to sharpen our reviews — not dull our independence.

When films are screened for press prior to release, we honor any clearly stated embargo dates. If none are provided, we follow professional norms:

• Festival Premieres: Reviews may publish after the film’s first public festival screening.

• Press Screenings / Screeners: We typically hold reviews until the film is made publicly available or reviews from major outlets begin appearing.

• Streaming Debuts or Surprise Drops: When there’s no precedent or embargo guidance, we err on the side of context, not speed.

If we publish early, it’s because we had clearance. If we wait, it’s because the film deserves better than a rushed hot take… as do you.