Find my reviews for the New York Times here, and a roundup of my column entries for the Metrograph Journal here.
2024
On The Feeling That the Time for Doing Something Has Passed (4Columns)
On Love Lies Bleeding (the Nation)
Profile: Radu Jude and Do Not Expect Too Much From the End of the World (NYT)
Op-Ed: Is Poor Things a feminist film? Is Barbie? These questions have become meaningless (Guardian)
Bruno Dumont on The Empire (Film Comment)
Notes on the Culture: When a Job Becomes Literal Hell (T Magazine)
On The Heroic Trio / Executioners (Criterion)
If you liked Saltburn, consider The Dreamers (NYT)
On Hitler, a Film From Germany (NYT)
Luis Buñuel in Mexico (4Columns)
Marguerite Duras’s “My Cinema” (MUBI)
The Heartbreaking Sincerity of Zac Efron (Vulture)
Chantal Akerman, 1968 - 1978: The Weight of Being (Criterion)
2023
The Uncanny Façades of May December (the Nation)
On Yorgos Lanthimos’s Poor Things (Film Comment)
David Fincher’s Man Without Qualities (the Nation)
Profile: Justine Triet and Anatomy of a Fall (NYT)
Interview: Catherine Breillat on Last Summer (Film Comment)
When Did the Plot Become the Only Way to Judge a Movie? (NYT)
Eighties Austrian Cinema at Vienna 2023 (Film Comment)
On Victims of Sin and Ninón Sevilla (4Columns)
Inhabiting the Role: A Discussion with Todd Haynes (Filmmaker)
On the Locarno Film Festival 2023 (Film Comment)
Profile of Our Body filmmaker Claire Simon (NYT)
Jean Eustache’s Erotics of Estrangement (Artforum)
On Pietro Marcello’s Scarlett (4 Columns)
Cannes 2023 Dispatch: On The Zone of Interest, May December, and Anatomy of a Fall (Film Comment)
Sarah Bernhardt: And the Woman Created the Star // Petit Palais (NYT)
Down with Love at 20: Celebrating the Phoniness of Rom-Coms (NYT)
On Laura Citarella’s Trenque Lauquen (Film Comment)
The Wet Dreams and Twisted Politics of Erotic Thrillers (Criterion)
20 Years Later, Irreversible Still Shocks (NYT)
Rendez-Vous with French Cinema 2023 (NYT)
Death, Destruction, and Lars von Trier (the Nation)
On the Berlinale’s Coming-of-Age Retrospective (NYT)
On Albert Serra’s Pacifiction (Artforum)
Roundtable on Magic Mike’s Last Dance (Film Comment)
On the 52nd International Film Festival Rotterdam (Artforum)
On Mia Hansen-Løve’s One Fine Morning (4Columns)
Entre nous: Alice Diop on Saint Omer (Cinema Scope)
2022
Slate Movie Club:
1—On Blonde, Deep Water, and cinematic spectacle 2—On Alice Diop, Three Minutes: A Lengthening, and streaming documentaries
3—The year in “meh,” Bones and All, Decision to Leave, After Yang 4—EO, Cow, and the last frontier of transgression
On Jean-Louis Trintignant (Metrograph)
On Joanna Hogg’s The Eternal Daughter (Film Comment)
Decolonizing Australian Cinema: A Conversation with Warwick Thornton (Criterion)
Critic’s Notebook: The Ring at 20, Millennial Horror That’s Still Infecting Audiences Today (NYT)
On Serge Daney and The Cinema House & the World (Bookforum)
On Mathieu Amalric’s Hold Me Tight (4Columns)
“What Is Cinema?” Olivier Assayas on Irma Vep (Cinema Scope)
On Jacques Rivette’s Le Pont du Nord (Reverse Shot)
David Cronenberg’s Tableaux of Pain and Pleasure (The Nation)
An Enigma Made Flesh: Delphine Seyrig in Golden Eighties (Criterion)
Rediscovering Dore O.’s cinema of the self (Artforum)
Critic’s Notebook: James Wong Howe, A Gutsy Cinematographer Finally Gets His Due (NYT)
The Business of Making Pleasure: Profile of Ninja Thyberg and Sofia Kappel (NYT)
Critic’s Notebook: On New Ukrainian Cinema (NYT)
On Annie Ernaux and Audrey Diwan’s abortion drama Happening (4Columns)
Critic’s Notebook: Rendez-Vous with French Cinema 2022 (NYT)
Critic’s Notebook: Women Stars of the Pre-Code Era Series at MoMA (NYT)
On The Worst Person in the World (Cinema Scope)
2021
Star Power: Bruno Dumont Discusses France (MUBI)
Critic’s Notebook: When Women Filmmakers Get to Tell Their Origin Stories (NYT)
Women on the Serial-Killer Movies That Thrill Them/ James Benning’s Landscape Suicide (Criterion)
The Imperfect Legacy of Romeo Must Die (Vulture)
Leos Carax on Annette and the Cinema of Doubt (NYT)
Ephraim Asili on the Films That Shaped Him (Criterion)
On The Green Knight (Film Comment)
On Black Picture Show (frieze)
Critic’s Notebook: New Directors/New Films 2021 (NYT)
Tim Leyendekker’s Feast (MUBI)
She Stays Winning: On Promising Young Woman and #MeToo Movies (Baffler)
On Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy (Cinema Scope)
Review: Preparations to Be Together for an Unknown Period of Time (NYT)
Interview with Julien Faraut (Filmmaker)
On Celine and Julie Go Boating (Criterion)
Interview with Aubrey Plaza (Sight & Sound)
Reclaiming the Dream: Joyce Chopra’s Smooth Talk (Cinema Scope)
2020 & Before
Profile of Milla Jovovich (Polygon)
Aubrey Plaza Movies Ranked by How Badly She Wants to Kill You (Vulture)
On Slow Machine (Reverse Shot)
On Uptown Theater (Reverse Shot)
Jane Fonda in the 1960s (Film Comment)
On Toni Erdmann (Reverse Shot)
On Robert Pattinson and David Cronenberg (A.V. Club)
Rhymes with Bitches: Resurrecting Nelly Kaplan (Brooklyn Rail)
Interview with Christopher Harris (MUBI)
The Millennial Blues of Palm Springs (L.A. Review of Books)
On Martin Eden for the A.V. Club
Sugar High Politics: Jojo Rabbit and Bombshell in Context for MUBI
“I think about Collin Farrell salsa dancing a lot” (The Cut)