Features
“Fassbinder and Kraftwerk: A Marriage Made in a New Germany,“ on the final episode of Berlin Alexanderplatz and the numerous aesthetic connections between Rainer Werner Fassbinder and Kraftwerk, published on the Criterion Current on October 15, 2020.
“The Restrained Genius of a Joe Pesci Performance,” a study of the actor’s career with particular focus on his performance in The Irishman, published in the Sunday New York Times Arts Review on November 10, 2019.
“Night Gallery,” an analysis of David Lynch’s body of multimedia art in relationship to Twin Peaks: The Return, published in the November/December 2017 issue of Film Comment.
“No Joke,” on American film comedies during the Obama Administration, published in the March/April 2017 issue of Film Comment.
“The Cleaning Crew,” on the VFX work that you don’t see (but exists in every new movie and TV show), published in the November/December 2016 issue of Film Comment.
“Dream State,” on Cemetery of Splendor and an interview with Apichatpong Weerasethakul, the cover story of the March/April 2016 issue of Film Comment.
Reviews
The Wandering Soap Opera, (Valeria Sarmiento and Raúl Ruiz, 1990/2019), Brooklyn Rail.
The Mule, (Clint Eastwood, 2019), Sight & Sound.
I, Tonya, (Craig Gillespie, 2017), Film Comment.
The Square, (Ruben Östlund, 2017), Sight & Sound.
Chevalier, (Athina Rachel Tsangari, 2015), Film Comment.
Chi-Raq, (Spike Lee, 2015), Film Comment.
Columns
I once had a weekly, online-only column at Film Comment. I was also producing and hosting a weekly podcast (plus the rest of my job) at the same time, so eventually I burned myself out and stopped writing. There weren’t many, but these are my favorites.
Antonio Pietrangeli’s I Knew Her Well + Xavier Giannoli’s Marguerite
The Short Films of Ana Mendieta
Chantal Akerman’s No Home Movie
Eiichi Yamamoto’s Belladonna of Sadness