Freelance writer (LitHub, Bright Wall/Dark Room, CrimeReads, Animus, Crooked Marquee, MAYDAY Magazine)
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The Hours 2002
I wrote about The Hours for Bright Wall/Dark Room, a film I loved as a teenager but have a more complicated relationship with now:
“When I was 14, I regularly sifted through Netflix’s “Gay/Lesbian” section for illuminating queer cinema. Predictably, this wasn’t usually a successful endeavor, but I was able to find a few films that helped shape my taste and my understanding of queerness—I Killed My Mother, Far From Heaven, Andrew Haigh’s Weekend. The film with the most pressing,…
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Swoon 1992
I wrote about portrayals of queer criminality in Tom Kalin’s Swoon and Gregg Araki’s The Living End, and why I think contemporary queer cinema could use more films like these, for CrimeReads. Give it a read!
“Despite its period setting, Kalin created in Swoon a sharp perspective on how marginalized people are blamed for crime and social dysfunction, with a particularly pointed view on how queer sex is treated as a sinister act on par with murder.”
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The House of Mirth 2000
I wrote on this film as a model Edith Wharton adaptation for LitHub:
“This combination of deep attention to the content of Wharton’s novel and commitment to the unique possibilities of film is a rare alchemy, yet it’s vitally important for literary adaptations. While some creators mine works of literature for parts and dilute the source material (or, alternatively, adapt literary work without a cinematic point of view), Davies uses his own distinct aesthetics to illuminate and expand upon Wharton’s work.”
