The filmmaker and the flâneur—In conversation with Shirley Yumeng He faithfulcorrespondence.com/2025/02/08/t...

Even though I don't love the sun, I wish for sunnier days. faithfulcorrespondence.com/2024/12/31/v...

I was so pleased to speak with Parastoo Anoushahpour about her film, The Time That Separates Us, for Peripheral Review. An intimacy of thoughtful intention is foregrounded in the exploration of subjectivities in mediated landscapes in Jordan and Palestine.

www.peripheralreview.com/precious-ele...

"For Duras, cinema was the place of ultimate refusal, defined by 'being trapped in the dark with an image.' The only films worth making were those that tore through the deceits and delusions of cinema."
lareviewofbooks.org/article/the-...

Re-reading Lost in Work: Escaping Capitalism by Amelia Horgan. Against a narrative of 'progress' around work and a dissection of the many maladies that pervade modern work of all kinds, through the lens of the UK at the height of the pandemic.

www.plutobooks.com/978074534091...

John Berger on states of forgetfulness, media and capital, ca. 2015: "It is a voice at home with digits but not with living or suffering bodies. It does not speak of either regrets or hopes."

brickmag.com/how-to-resis...

What I need in the new year––Dionne Brand saying 'I have no use for nostalgia' and more on an ethos of poetry, ambitions around language: tinhouse.com/transcript/b...

"One has a sense as one observes bodies in Diaspora, virtuosity or despair, on the brink of both...

That one, a boy still, limbs longer than he can handle, eyes more shy than he wants to reveal. He'll be shocked into hardness any time now..." 2/3

- Dionne Brand

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Lynette Yiadom-Boakye

A belated post about my conversation with Shasha Li and her debut film, Heaven Rain Flows Sweetly, a homophone in Mandarin for the Nakhi phrase, "Go read." faithfulcorrespondence.com/2023/12/21/g...