Select Features

Minority Report
Cinema Year Zero • June 13, 2024

Docklands Diary
In The Mood • March 12, 2024

Poor Things, from Novel to Screen
In Review Online • January 2, 2024

Sadness with Pizzazz: The Saddest Music in the World at 20
Little White Lies • October 25, 2023

A Haunted Medium: On Charlie Shackleton’s The Afterlight
ALT/KINO • June 7, 2023

Back to the Movies: Goodbye, Dragon Inn
Cinema As We Know It • August 6, 2021

(more here)

Select Reviews

Bad Timing
In Review Online • April 8, 2025

Queer
In Review Online • November 26, 2024

Sanatorium Under the Sign of the Hourglass
In Review Online • November 7, 2024

The Beast
Filmhounds • May 24, 2024

Aftersun
Filmhounds • November 17, 2022

Vive L’Amour
Cinema As We Know It • March 22, 2022

(more here)

Select Interviews

Riar Rizaldi • Mirage (Gasworks)
In Review Online • September 30, 2024

Charlie Shackleton • The Afterlight
Blog Post • May 22, 2023

Barbara Sukowa • Two Of Us
Outtake • July 15, 2021

(more here)

Listening to Variety
Cinema Rediscovered commission • October 2023

"My initial interest in Bette Gordon’s Variety (1983) was the involvement of the experimental writer Kathy Acker. Watching the film at Cinema Rediscovered, I was fascinated by the ways in which Gordon, rather than merely drawing on her talents as a writer, imports Acker’s confrontational performance style into Variety’s narrative itself, through the three erotic monologues that punctuate the film. My video essay examines the role spoken language plays in Variety’s subversion of traditionally male spaces, looking to the origins of these monologues in Acker’s writing broadly and Gordon’s 1981 short Anybody’s Woman specifically."

Inland Empire: Horror and the Poor Image
June 2023

An essay on the terrors lurking in low definition, focusing on David Lynch’s MiniDV nightmare Inland Empire. Adapted from an academic essay available here:

“As a teenager, I inherited a collection of VHS tapes of horror movies my school were getting rid of as they made the switch from video to DVD. Watched in my room on my family’s tiny old TV, these films thrilled and terrified me. Revisiting them in the years since, either in cinemas or at home on Blu-ray disks, I’ve now seen these films as they are “supposed” to be seen by the standards of any cinephile — in high resolution versions, without the “imperfections” of the lower-quality video format. The latter viewings afforded a newfound clarity: I could better appreciate the films’ craft, I could make out every detail in a scene. I could, in short, see more — so why did it feel like something was missing?“

Select Academic Essays

“It’s an imperfect world, but it’s the only one we’ve got”: The Neoliberal Marvel Cinematic Universe
Masters Dissertation, Goldsmiths • August 2022

“What will happen to me if I fail your test?”: Policing the Borders of the Human in Science Fiction
Undergraduate Dissertation, University of Edinburgh • April 2020

(more here)