Event Horizon: AI Homer and the Year in Artificial Intelligence
Reverse Shot    JANUARY 2024

NYFF 2023: Deborah Stratman’s Last Things
Reverse Shot    OCTOBER 2023

Personal Spaces: The Films of Rhayne Vermette
Metrograph    OCTOBER 2023

Revisiting Recess: School’s Out
Reverse Shot    SEPTEMBER 2023

Toronto International Film Festival, 2023
MUBI Notebook    SEPTEMBER 2023

Interview: Paula Beer
MUBI Notebook    JULY 2023

Interview: Helena Wittmann
Metrograph    APRIL 2023

Event Horizon: The “Total Experience” of 80 for Brady
Reverse Shot   MARCH 2023

Chloe Abrahams’s The Taste of Mango
Reverse Shot   MARCH 2023

“Two Cents”: On John C. Reilly in Claire Denis’s Stars at Noon
Reverse Shot    JANUARY 2023

Typical Girls: Joanna Hogg’s Caprice
Metrograph    DECEMBER 2022

Alfred Hitchcock’s Frenzy
Reverse Shot    OCTOBER 2022

Ruben Östlund’s Triangle of Sadness
Film Comment    OCTOBER 2022

TIFF 2022: Vera Drew’s The People’s Joker, Hong Sang-soo’s Walk Up
MUBI Notebook   SEPTEMBER 2022

TIFF 2022: Moyra Davey’s Horse Opera, Daniel Goldhaber’s How to Blow Up a Pipeline, Kurt Walker’s I Thought the World of You
MUBI Notebook   SEPTEMBER 2022

Summer of ’81: David Cronenberg’s Scanners
Reverse Shot   SEPTEMBER 2022 

David Easteal’s The Plains
Cinema Scope   JULY 2022

Interview: Ricky D’Ambrose on The Cathedral
Screen Slate    APRIL 2022

Event Horizon: On Deepfakes
Reverse Shot    MARCH 2022

Edwin’s Vengeance Is Mine, All Others Pay Cash
Reverse Shot    MARCH 2022

Inside the First Annual Boss Baby Symposium
Vulture    JANUARY 2022

Sundance Shorts Dispatch
Film Comment    JANUARY 2022

“Two Cents”: Capsules on 2021 Music Documentaries and Edgar Wright’s The Sparks Brothers
Reverse Shot    JANUARY 2022

Cosmic Contrasts: Jóhann Jóhannsson’s Film Scores
Metrograph    DECEMBER 2021

The Tim, Jeremy, and Rajat Experience
Vulture    DECEMBER 2021

Event Horizon: TikTok and Infinite Duets
Reverse Shot    NOVEMBER 2021

Jane Campion’s The Power of the Dog
Paris Theater Notebook    NOVEMBER 2021

Charles Atlas’s Hail the New Puritan
Film Comment   NOVEMBER 2021

Damon Packard’s Fatal Pulse
Bloodvine   OCTOBER 2021

Herk Harvey’s Carnival of Souls
Reverse Shot    OCTOBER 2021

Interview: Jena Friedman on Indefensible
Vulture    OCTOBER 2021

Todd Haynes’s The Velvet Underground
Reverse Shot    OCTOBER 2021

Joanna Hogg’s The Souvenir: Part II
Reverse Shot    OCTOBER 2021

New York Film Festival 2021 (Dispatch, Review of Ramon and Silvan Zürcher’s The Girl and the Spider)
Screen Slate    SEPTEMBER 2021

Event Horizon: Amalia Ulman’s Multi-Platform Multiverse
Reverse Shot   SEPTEMBER 2021

James Vaughan’s Friends and Strangers
Cinema Scope    SEPTEMBER 2021

Amit Desai on Cross Eyed
Reverse Shot    AUGUST 2021

Interview: Laurie Anderson
Metrograph    MAY 2021

Event Horizon: The Aesthetics of Cope in Pandemic-Era Entertainment
Reverse Shot    MAY 2021

See Into the Trees: Blu-ray Essay for Albert Serra’s Liberté
Cinema Guild    APRIL 2021

When the Stars Align: Stanley Kwan’s Center Stage
Metrograph    MARCH 2021

Jacob Ciocci and Extreme Animals’ The Urgency
Electronic Arts Intermix    MARCH 2021

Sion Sono’s Red Post on Escher Street
Berlinale Critics’ Week    FEBRUARY 2021

Teboho Edkins's Days of Cannibalism
Cinema Scope    FEBRUARY 2021 (PRINT ONLY)

Debt to Nature: Valentyn Vasyanovych's Atlantis
Metrograph    JANUARY 2021 

New Directors/New Films 2020
Screen Slate    DECEMBER 2020

Event Horizon: Quibi and the Narrative Underground
Reverse Shot    NOVEMBER 2020

Tim Heidecker: The Poet Laureate of Delusional Assholes
Vulture    OCTOBER 2020 

Frank Henenlotter’s Brain Damage
Reverse Shot    OCTOBER 2020

New York Film Festival 2020 (Part 1, Part 2, Part 3)
Screen Slate    OCTOBER 2020

Event Horizon: Conner O'Malley, The Weird and the Normal
Reverse Shot    AUGUST 2020

Beyond Words: John Skoog’s Ridge
Reverse Shot    MAY 2020

On the Internet: Ten-Hour YouTube
Screen Slate    MAY 2020

Kitty Green’s The Assistant
Cinema Scope    APRIL 2020 (PRINT ONLY)

Connected: Defending Your Life + The Lusty Men
Reverse Shot    APRIL 2020

The Unexpected: True/False Film Festival 2020
Reverse Shot    MARCH 2020

Multiple Choice: Eliza Hittman’s Never Rarely Sometimes Always
Reverse Shot    MARCH 2020

Best of the Decade: Leos Carax’s Holy Motors
Reverse Shot    FEBRUARY 2020

Céline Sciamma’s Portrait of a Lady on Fire
Cinema Scope    JANUARY 2020

Partly Truth, Partly Fiction: 2019 Cinema Revisits the Manson Family
The Los Angeles Review of Books    NOVEMBER 2019

Traces, Places: Angela Schanelec’s I Was at Home, But…
Reverse Shot    OCTOBER 2019

Beyond the Canon: Claudia Weill’s Girlfriends and John Cassavetes’s Husbands
BAM Film    OCTOBER 2019

Leaving a Trace: Juliette Binoche in Olivier Assayas’s Summer Hours
Reverse Shot    JULY 2019

Interview: Mark Jenkin
Film Comment    MARCH 2019

Body Politic: Eliza Hittman’s Beach Rats
Reverse Shot    OCTOBER 2018

Day of Rest: Jim McKay’s En el Séptimo Día
Reverse Shot    JUNE 2018

Review: Andrew Haigh’s Lean on Pete
Film Comment   MARCH 2018

Leonard Cohen at the Musée d’art contemporain de Montréal
The Los Angeles Review of Books    JANUARY 2018

David Cronenberg’s Dead Ringers
Reverse Shot   OCTOBER 2017

Winter Sleeper: Sergei Loznitsa’s A Gentle Creature
Reverse Shot    OCTOBER 2017

Interview: William Oldroyd
Film Comment   JULY 2017

Interview: Emily Armstrong & Pat Ivers, Go Nightclubbing!
Screen Slate    JULY 2017

Glenn O’Brien’s TV Party and Digital Grief
Guernica   JUNE 2017

Interview: Chloé Robichaud
Film Comment   MARCH 2017

Interview: Amat Escalante
Film Comment    FEBRUARY 2017