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essays

1968

— May 2021

 

Staging the Body: Saint Maud

— March 2021

Close-Up

— March 2021

Wanda

— March 2021

Slouching Towards Nowhere: The Graduate

— February 2021

Morvern Callar: Reaching for the Illegible

— January 2021

Synthetically Eroded: Femme Fatales in Double Indemnity and Chinatown 

— January 2021

Visualizing Liberation in "But I'm a Cheerleader"

— December 2020

Documenting Feeling in Claudia Weill's 'Girlfriends'

— December 2020

The Texas Chain Saw Massacre 

— June 2020

articles

 

Filming the Feminine with Cecelia Condit

— May 2021

 

Betty Blue

— February 2021

A Cocktail of Confection: What a Way to Go!

— January 2021

La Haine

— January 2021

Asparagus

— December 2020

Perfect Blue

— December 2020

Possibly in Michigan

— November 2020

Atman

— November 2020

Together, Separately: Maya Deren

— November 2020

Eyes Without a Face

— October 2020

Eyes Wide Shut

— October 2020

Bodies and Costumes in Ms. 45

— October 2020

Reality and Fiction in Cheryl Dunye's The Watermelon Woman

— May 2020

reviews

BFI Flare 2021: My First Summer

— March 2021

Never Rarely Sometimes Always

— February 2021

LFF 2020: The Human Voice 

— October 2020

LFF 2020: One Night in Miami 

— October 2020

LFF 2020: Relic 

— October 2020

The Devil All The Time 

— September 2020

She Dies Tomorrow 

— August 2020

 

lists

Must-See Self-Directed Films

— April 2021

My Dream Double-Bills

— February 2021

What I Watched in Lockdown

— September 2020

collaborations

Discussing Vagabond

— March 2021

In Memoriam 2019-20

— December 2020

Short Films from the BFI London Film Festival 

— November 2020

The Forgotten Films of Halloween 

— October 2020

The Films of Chantal Akerman 

— October 2020

The Films of Chadwick Boseman 

— September 2020

 

contact: jessica@wastelandarts.com

 
 
 
  
 
 
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