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.

If you’re in the market for 5,000 words on Wuthering Heights, I have the piece for you.

This fall I became obsessed with Emily Brontë’s novel and its many feature film adaptations. Over at Oscilloscope Laboratories’ Musings, I go long and very personal on why this novel has enchanted filmmakers for decades. My piece looks at adaptations by Buñuel, Rivette, Wyler, Andrea Arnold, and others. If you made the 5,000 word investment, I thank you.

For my beloved Filmmaker – where I regularly serve as proofreader and fact-checker for the quarterly print publication – I spoke with John McNaughton about his landmark 1986 film Henry: Portrait of a Serial Killer. Henry is being rereleased in theaters this fall. You can read my interview here, which covers the film’s audience-antagonistic structure as well as my teenage love of McNaughton’s Wild Things.

I interviewed Elizabeth Wood, the writer and director of the new film White Girl, for Paper Magazine. You can check the interview here. We spoke an awful lot about life in New York, gentrification, and the film’s preoccupations with race, class, and gender. It was a pleasure – and my first piece for Paper.


Earlier this month, I contributed to Filmmaker Magazine‘s coverage of the 2016 Tribeca Film Festival.

I conducted brief interviews with Ian Olds, director of the indie drama The Fixer; Drake Doremus, director of the A24-acquired Equals; Laurie Rose, the cinematographer of the J. G. Ballard adaptation High-Rise; and Sonia Kennebeck, director of the fantastic documentary National Bird.

I also published two Critic’s Notebook pieces. The first piece covers my thoughts on three of the films above and The Family Fang. The second piece covers the New York Times documentary Obit and the David Byrne ‘n’ friends concert/dance doc Contemporary Color.

Lastly, I spoke with my favorite straight-man Jason Bateman on The Family Fang, his second film as a director. He ate a decidedly basic-looking iceberg salad while we talked.

Follow the links to read some or all of my coverage from Tribeca 2016.