2024 is over
A round up of my writing this year + what's to come
2024 came and went, and I’m glad the year is over. These are for largely personal reasons, as 2024 amounted to a series of setbacks and sidetracks that wiped out a lot of progress. It wasn’t all bad, of course. I achieved some things this year that I was proud of, but the highs and lows combined into a wash. As for the year in film, we’ll get to that.
The purpose of this post is to compile all of my writing from 2024 into one place, which you can click through below to read if you’d like. I might do some more year-end related stuff, but that depends on how much I catch up on from this year viewing-wise. I might also be out of commission for a few weeks due to some medical issues (part of why 2024 wasn’t great for me) which is why I’m taking a “wait and see” approach.
As for 2025, I’m mulling over if I want to do more with this Substack or keep things as is. I’ve considered writing more on here, although I don’t want to bombard people’s inboxes. I’m also hoping to use this place to profile more films without North American distribution through reviews, essays and/or interviews. Any feedback, suggestions, etc. are more than welcome, so don’t be afraid to reply and let me know what you think, if you want me to cover a specific film or topic, etc.
Back to 2024, let me kick things off with my Top 10 of 2024 over at The Film Stage. My writing may sound a bit negative, but I don’t want to spout off bullshit to try and put a positive spin on things. Sometimes it just isn’t your year. I demand better from myself more than I demand better from those who want me to spend my time with their work, and I expect a lot better from those who try to convince people on what they should spend their time with.
And a massive thank you to everyone who subscribes here, reads my writing, responds, etc. for reminding me that I don’t do this in a vacuum. I do all of this with my spare time and I absolutely despise cold pitching so it’s always a surprise to see that people have any interest in the niche I’ve carved out for myself over the years.
Reviews
The Accident (Slamdance 2024 review at The Film Stage)
Citizen Weiner (Slamdance 2024 review at The Film Stage)
Fantasmas (TV series review at EDGE Media Network)
Ghostlight (review at EDGE Media Network)
Crossing (review at EDGE Media Network)
Shelby Oaks (Fantasia 2024 review at The Film Stage)
Bookworm (Fantasia 2024 review at The Film Stage)
The Count of Monte Cristo (Fantasia 2024 review at The Film Stage)
The Code (Fantasia 2024 review at The Film Stage)
The Paragon (Fantasia 2024 review at The Film Stage)
The Life of Chuck (TIFF 2024 review at The Film Stage)
Nightbitch (TIFF 2024 review at The Film Stage)
Ick (TIFF 2024 review at The Film Stage)
The Substance (review at EDGE Media Network)
Interviews
Giuseppe Garau (director of The Accident, interview at Acquired Cinema)
Bas Devos (director of Here, interview at Acquired Cinema)
Harley Chamandy (director of Allen Sunshine, interview at The Film Stage)
Joel Potrykus (director of Vulcanizadora, interview at The Film Stage)
Tarsem Singh (director of The Fall, interview at Seventh Row)
Emanuel Parvu (director of Three Kilometres to the End of the World, interview at EDGE Media Network)
Film Festival Coverage
Compromised Spaces: Sundance 2024 (festival wrap-up for EDGE Media Network)
Exploring New Directors/New Films 2024 (festival preview for EDGE Media Network)
10 Queer Titles from TIFF 2024 (festival preview for EDGE Media Network)
11 Must-See Short Films at TIFF 2024 (festival preview for The Film Stage)
TIFF 2024 Dispatch #1 (for EDGE Media Network)
TIFF 2024 Dispatch #2 (for EDGE Media Network)
TIFF 2024 Dispatch #3 (for EDGE Media Network)
TIFF 2024 Dispatch #4 (for EDGE Media Network)
The Buyer’s Choice: TIFF 2024 (for Acquired Cinema)
Distribution Watches
And last but not least, my Top 10 of 2023 at The Film Stage which published in early January.