selected writing
features
A Cinema of Genocide for Berlinale Talents Press
Absence as Presence in the Cinema of Marguerite Duras for A Rabbit’s Foot
Jessica Sarah Rinland Discusses Her Latest Sensorial Documentary ‘Collective Monologue’ for Variety
The negative hand: Deep underground a hand reaches out from 30,000 years ago for TANK
Women’s Prison (1955): An Exercise in Imagining Elsewheres for the Pardo at Locarno Film Festival
Director Guan Hu: ‘2008 was the year of China’s greatest pride, but also the most suffering’ for the Financial Times
Berlinale 2024: A Traveller’s Needs review – a quirky tale of translation for A Rabbit’s Foot
Berlinale 2024: No Other Land review – weapons of violence and creation for A Rabbit’s Foot
40 years of Bette Gordon's cult neo-noir feminist thriller Variety for i-D
Communication Problems: revisiting Nam June Paik for ALT/KINO
In 2023, sex scenes are back with a bang for GQ
In praise of Sarah Polley’s Stories We Tell for Little White Lies
No Bears looks at how the control of women’s bodies traps us all for gal-dem
A look behind London’s independent cinema scene for the Financial Times
‘Long live the new flesh’: Videodrome at 40 for The Quietus
interviews
Harmony Korine: ‘I don’t watch movies anymore. I’m bored by them’ interview feature for Dazed & Confused
Radu Jude: ‘Professional filmmakers are in crisis – which is good’ for Dazed & Confused
All of Us Strangers, a film about ‘the pain we try to keep hidden away’: Interview with Andrew Haigh, Andrew Scott, Paul Mescal for Dazed & Confused
Savanah Leaf’s A24 debut spotlights the realities of Black Motherhood for Dazed & Confused
Baesianz: the collective bringing Britain’s Asian communities together for gal-dem
Shygirl on the Female Gaze, desire and the power of London’s queer club scene for ELLE
Something new and truly challenging: Anti-Mass are creating a subversive musical language for Mixmag
Sudan Archives’ violin-charged R&B is detonating classical conventions for Mixmag