“Covert Operations: Public-Making and Unmaking in Deepa Dhanraj’s Something Like a War” in Feminist Worldmaking and the Moving Image, forthcoming from MIT Press in August 2022

Essay on Terence Davies’s A Quiet Passion for Textur #3, published by the Viennale

“Dreams of History:” Essay on Cheryl Dunye’s Watermelon Woman for essay collection I Am Independent, published by the Jeonju International Film Festival

Joanna Hogg and the Art of Life for The Nation

Feature profile of the filmmaker Haile Gerima for The New York Times

Interview with Terence Davies on Benediction for the Film Comment Podcast

Seeing is Believing“: Liner Essay for the Criterion Collection edition of Satyajit Ray’s Devi

Undine Review: Angel of History” for Film Comment

“‘What Next, After Protest?’ An Interview with Ephraim Asili” for The New York Review of Books

Interview with Barry Jenkins and feature on The Underground Railroad for the May 2021 cover of Sight & Sound

Five International Movies to Stream” monthly column for The New York Times

An Interview with John Akomfrah for Caligari

On Abbas Kiarostami’s And Life Goes On and cross-cultural cinephilia for Reverse Shot

On There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse for CinemaScope

Interview with Indian documentarian Deepa Dhanraj about the pioneering feminist Yugantar Film Collective for Field Notes

“An Anguish at Arm’s Length: Supriya Choudhury in The Cloud-Capped Star for the Criterion Collection

Borat Subsequent Moviefilm Review: More Cultural Learnings” for The New York Times

I Think We’re Alone Now” for Film Comment

Crossing Over the Last Decade with Mati Diop” for Cultured Magazine

Letter to an Unknown Decade” for the end-of-2020 issue of Film Comment

Interview with Greta Gerwig on Little Women for the Nov-Dec 2020 cover of Film Comment

Interview with Steven Yeun on Burning for Film Comment

Lucrecia Martel’s Zama Lays Bare the Delusions of a Colonial Official” for The Village Voice

On anticolonial science fiction and Ryan Coogler’s Black Panther for the March-April 2019 cover of Film Comment