That's Their Business: Smile at Last (1985) and If I Had Legs I'd Kick You (2025) In Conversation
Smile at Last (1985) (Berlinale Classics) and If I Had Legs I'd Kick You (2025) (Berlinale Competition) In Conversation
Rodgers and Hammerstein leave a lyricist spiraling in Blue Moon
Blue Moon (2025) Review
A Double Take on Hitchcock: Honey Bunch
Berlinale Review of Honey Bunch (2025)
Robert Pattinson Impresses in Mickey 17's Silly but Declawed Social Satire
Review of Bong Joon-ho's MICKEY 17 (2025)
A Real Woman
A Real Woman (1954)
Without You I’m Nothing
Without You I'm Nothing (1990)
Believe the ANORA Hype - Merry-Go-Round Magazine
Sean Baker’s return to New York City cinema has been nothing short of triumphant. With ANORA, Baker became the first American director to win the Palme d’Or in Cannes since Terence Malick brought us THE TREE OF LIFE in 2011 (both handed out by American jury presidents, since we are obsessed with ourselves). ANORA is not the madcap fairytale romance Neon marketed it as; rather, it’s an insightful study into a shrewd, but hot-headed, woman pushed to her limits in a country that places more value o...
The Substance's Stale Satire Offers a Clumsy Feminist Critique
A review of The Substance (2024).
BALL PEOPLE a film by SCOTT LAZER
BALL PEOPLE a film by SCOTT LAZER. 2023. USA. 13 min. A behind-the-scenes look at the highs and lows of trying out for the US Open ball crew.
Dona Flor and Her Two Husbands
On Bruno Barreto's Dona Flor and Her Two Husbands (1976) for Screen Slate.
Psychics Soothe NYC's Wounds in Eccentric, Frustrating Doc Look into My Eyes
Review of Lana Wilson's "Look Into My Eyes."
Just the Same but Brand New: A Locarno Critics Academy Correspondence
Connecting Locarno filmmakers, past and present.
Hong Sang-soo Makes a Subtle, Striking Shift in By the Stream
Review of Hong Sangsoo's By the Stream.
From The Seed of the Sacred Fig Grows a Disappointingly Obvious Metaphor
Review of THE SEED OF THE SACRED FIG.
‘Invention’ Filmmakers Courtney Stephens, Callie Hernandez Talk Dead Dads, American Mythology and Innovative Filmmaking from Locarno
With my colleague Fareyah Kauktab, I spoke with filmmakers Courtney Stephens and Callie Hernandez about their Locarno pick "Invention."
Moving
On the restoration of Shinji Sōmai's Moving (1993), for Screen Slate.
A Family Portrait Unravels in This Enigmatic Debut Film
Review of Lucy Kerr's debut feature film, Family Portrait.
The Messy Characters of This Closeness Reflect Our Own Contradictions
My review of Kit Zauhar's sophomore feature.
Payal Kapadia Captured Student Protests with Uncommon Honesty in A Night of Knowing Nothing
This month, Payal Kapadia will make history with her sophomore feature All We Imagine as Light, becoming the first Indian filmmaker to enter the Official Selection in Cannes in 30 years.
Joanna Arnow on her BDSM New York debut picture
A conversation with Joanna Arnow.
Under COVID, Queer Chaos Reigns in Stress Positions
Stress Positions, Theda Hammel’s ambitious directorial debut, is a divisive dramedy that follows a trio of white, queer, Brooklyn-dwelling millennials as they navigate identity amidst the height of the pandemic. Going against the grain of a cultural landscape desperate to pretend like the COVID-19 pandemic never happened, Hammel dives headfirst into her exploration of the specific ways the universal experience of lockdown drove us all insane.
Brooklyn, Spring of 2020: The sirens are constantly
Brooklyn, Spring of 2020: The sirens are constantly
A Different Man's Exhilarating, Insightful Genre Blend Is More than Skin Deep
Review of Aaron Schimberg's A Different Man.
If Only We Had More Free Time, Indie Comedies Could Be Different
A review of Ryan Martin Brown's Free Time.
Living Outside the Law, You Must Be Honest: A Conversation with Ryan Martin Brown - MGRM
A conversation with writer/director Ryan Martin Brown about his debut feature FREE TIME.
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About Me
Berlinale Talents Press 2025. Locarno Critics Academy 2024. OAFFC Member. Rotten Tomatoes approved. Brooklyn based.