Bloodshed in Suburbia: On Todd Haynes' Safe (1995)

This essay appeared in Issue 2 of The Film Atlas.

In an uncharacteristic move to “try something new,” Carol White gets a perm in a green marble, mirrored room. Carol, a hesitantly self-described “homemaker,” suffers from a mysterious and multi-symptomatic illness despite (or because of) her profoundly insular, conventional, and hermetic world.

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Hail Marys

Where Ma spills over with quiet embodiment, m/Other stages the disembodiment of language. Ma is told through the movement of silent bodies, and m/Other is a non-narrative, bodiless exploration of verbality. Both works are preoccupied with the maternal image and the distortion of a problematic narrative. The two together are a re-assemblage of dislocated parts, a convergence of subversive articulations.

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Neon Hauntings: Gender, Bodies and Terrain in Blade Runner

This essay was originally published in Slate Film & Moving Image Journal (April 12th, 2016)

Just as architecture is never devoid of signification or of discourse, the female body is always a site upon which a complex politics is at work. The nostalgic-dystopic politics of Ridley Scott’s Blade Runner are mapped explicitly onto the film’s neon-lit landscape, and are articulated through the bound or bloodied female bodies that inhabit it.

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Interview with Tangerine Director Sean Baker

This interview was originally published in The Berlin Film Journal (November 20th, 2015).

Tangerine (2015) is loud and brash and bright, a highly-saturated but also exquisitely beautiful account of strange encounters, an LA underbelly and female friendship. Shot entirely on an iPhone 5s, Sean Baker’s film focuses on one Christmas Eve in the lives of two trans sex workers – Sin Dee Rella and her best friend Alexandra.

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Prospero and Yellow String: Carré's Embers

This review was originally published in the Berlin Film Journal (October 8th, 2015).

Like all good science fiction, Claire Carré’s Embers transcends its genre. It does not bask in its temporality nor its teleology, rather, it renders fragments of experience visceral and haunting without weighing itself down with plot drive and resolution.

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Petrified: Fassbinder, Jetzt - Annotated

This essay was originally published in The Berlin Film Journal (August 20th, 2015)

Curation at its least effective is often, like this, an elaborate petrification. A body of work – or the material remnants of a body who worked – are removed from time and re-rendered, fossilized, in a way that voids them of their dynamism and potency.

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