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Like many I know (in person and online), I’ve let Twin Peaks: The Return dominate my life this summer. And why not? As far as universes in which to get lost, Twin Peaks offers rich rewards: fun, frustration, fan theories to keep you up at night. I took to Filmmaker Magazine to urge readers to seek out Twin Peaks: The Missing Pieces, a feature-length collection of deleted/extended scenes from Fire Walk With Me released by Lynch in 2014. You can read the piece here. The Missing Pieces itself you’ll find on this box set.

I began 2017 with two visits to Manifesto, a 13-screen video installation at the Park Avenue Armory. Directed by Julian Rosefeldt and starring Cate Blanchett in 12 distinct roles, the installation was an immersive film event like nothing I’d seen before: overwhelming, inspiring, and funny as hell. Rosefeldt has since turned the piece into a feature film. I spoke with him about the uniquely strange process of turning 13 short films into a coherent feature at Filmmaker Magazine. You can read the piece here.

I caught the film Obit in 2016 as part of my coverage for Filmmaker on the Tribeca Film Festival. Ahead of the film’s theatrical release this week, I spoke with the film’s director, Vanessa Gould, about the documentary for Brooklyn Magazine. Our talk touches on issues of nostalgia, grieving on social media, the logistical hurdles of filming at the New York Times, and why her film is not “a film about death.”

You can read the full interview – my first piece for Brooklynhere.

My second piece for Oscilloscope’s Musings is up. Following my November 2016 long-read on film adaptations of Wuthering Heights, I return to the site to explore another obsession: Bad Lieutenant: Port of Call New Orleans. I wrote in excessive length about the film in 2011-2012 on this site (click here to read all seven pieces).

For my piece at Musings, I spoke with the film’s screenwriter William Finkelstein to discuss the film’s anarchic collision of Nic Cage scenery-chewing, Herzog’s mystical tangents, and Finkelstein’s police procedural storytelling. It’s an article long in the making. You can read it here.

For the second year in a row I helped manage Filmmaker Magazine‘s extensive web coverage of the Sundance Film Festival remotely from New York. Click the links to learn more:

Short interview with Alex Ross Perry on Golden Exits, his follow-up to the (beloved by me) Queen of Earth.

Short interview with Gillian Robespierre on Landline, the writer director’s follow-up to Obvious Child.

Short interview with writer/director Matt Ruskin on Crown Heights, which won the Audience Award in the U.S. dramatic competition.

Interviews with editors and DPs on Sundance films. I wrote the intro paragraphs to dozens of these pieces, which you can find collected here.

Lastly, I collected and collated dozens of “Sundance Response” pieces, all of which you’ll find here.

Like last year, I look forward to actually seeing these films.

I revisited Groundhog Day after many years over Thanksgiving. I landed on it flipping through channels amid the family. Soon we all sat transfixed. We all laughed, but inside I felt something stir. What a profoundly destabilizing film. There I was, day-drinking a beer with the fam, suddenly forced to reassess how I live my life. In between laughs I felt my stomach sink.

I find striking similarities between Groundhog Day and Paterson, the new film from Jim Jarmusch. Over at Filmmaker, I write about how the films play off one another and what they say about the act of everyday living. They are both essential works I plan to revisit regularly, like scripture. You can find my piece on the two films here.

In 2015 I grew bored with the top 10 year-end list and tried something new: a rundown of the year’s exemplary films as double features. You can find that piece at Filmmaker Magazine’s website. I felt this was a novel – or at least new to me – way to assess the year’s films. I continue the tradition this year, once again at Filmmaker‘s website. Click here to read my top 10 double features of 2016.