Reviews, essays, and interviews that have appeared in in cléo: a journal of film and feminism, IndieWire, Lambda Literary Review, The Los Angeles Review of Books, Museum of the Moving Image’s Reverse Shot, Slate, and Condé Nast’s them., among other nice places.
"The Lure viewer has a choice: accept total erotic defeat, or admit, like La Ciura or the manager, that their desire skews a bit bestial."
“'Sebastián just left it down to the human performance,' Rachel Weisz says over the phone."
"“I think it’s great that people are preserving feature-length narratives like Desert Hearts,' filmmaker Jim Hubbard says. “There’s a huge amount of our history that’s either sitting and waiting to be preserved or quickly deteriorating.”
"Two new documentary films position their eponymous 20th century literary figures beneath their progeny’s gazes."
"Director Jeremiah Zagar’s new coming-of-age drama premiered in the most auspicious of buildings, the sort that is overflowing with language: a library."
"'For me, history is at the crux of all my work,' Rosenfeld tells me. 'I am thinking about past or future histories.'"
"I really believe in not watering down depictions of trans and queer storylines. The audience needs to catch up, wherever they may be."
"I’m not saying we should always find the fun at the expense of our politics. But pleasure isn’t simple."
"It’s been really nice to step outside of American cinema and see the diversity of French and Italian film."
"I’m well-aware that when I start working with a bigger budget, there will be a lot more pressure on me to cast those bigger names."
"I spent the night at the Borden home in Fall River and I can tell you that the walls and floors are very thin."
“'You can’t say, I hate Fassbinder, you know what I mean?' DeLaria says. 'You have to be prepared for something different.'"
"Becky declares herself both the roaming, snarling chimera and the only warrior poised to best her."
"Kelly’s retelling is careful to not make this a story of users and the used; when opting into celebrity, everyone becomes both."
"The power of Kahiu’s film is its articulation that faith can be as primal as what draws the girls to one another."
"Because Colette, like its Willy, is obsessed with Colette as a docile young girl and the early literary works that bottle her youth, we never get to fully experience Colette’s wisdom or queer catharsis."
"I figured Robyn Crawford would be the Rozz Rezabek of Can I Be Me, Broomfield ringing her doorbell unannounced at some ungodly hour. This isn’t the case."
"Take away the margin, and our subjectivity, messy though it may be, goes with it. All the more reason to hunger and hunt for more than what is in plain sight, as Hammer always did."
© 2019 | Headshot courtesy Daniel Graindorge, 2015