Freelance - 2023

• Reverse Shot Two Cents: Bottoms and The Holdovers

• Reverse Shot Does It Again Symposium: The American Friend (Reverse Shot)

• Review: Talk To Me (Cinema Scope 96)

• Review: How To Blow Up a Pipeline (Reverse Shot)

• Review: Fantasia 2023 - PETT KATA SHAW is a transgressive folk horror anthology (Rue Morgue)

• Review: Fantasia 2023 - HOME INVASION arthouse horror opens up new genre avenues (Rue Morgue)

• Review: Fantasia 2023 - T BLOCKERS is political, punk horror (Rue Morgue)

Freelance - 2022

• Lucile Hadzihalilovic: “When I make a film, something unconscious comes out” (Little White Lies)

• Hygiène sexuelle: Dénis Côté’s Un été comme ça (Cinema Scope 92)

• Review: The Northman (Reverse Shot)

• Currency: Air Doll (Cinema Scope 90)

• Too Good at Goodbyes: Joanna Hogg’s Cinema of Memory (Cinema Scope 89)

Freelance 2021

• Scott Nicholson On Playing Succession’s Only Satisfied Character (Vulture)

• Future Past: Black Mirror Season 1 at 10 (Paste Magazine)

• Review: Quickening | TIFF 2021 (Cinema Scope)

• Review: The Mad Women’s Ball | TIFF 2021 (Cinema Scope)

• Review: To Kill The Beast | TIFF 2021 (Cinema Scope)

• Review: The Devil’s Drivers | TIFF 2021 (Cinema Scope)

• Review: Night Raiders (Cinema Scope)

• A Spellbinding Approach to Film Criticism: Review of Erika Balsom’s Ten Skies (Hyperallergic)

• The Room of the Dream:
  A Conversation with Małgorzata Szumowska and Michał Englert (Reverse Shot)

• In the Earth: Kier-La Janisse’s Woodlands Dark and Days Bewitched: A History of Folk Horror (Cinema Scope 87, Print).

• Review: Stray (Reverse Shot)

Freelance - 2020

• Queen of Hearts is an Adoring Portrait of Artist Audrey Flack (POV Magazine)

• Jia Zhang-ke’s Swimming Out Till The Sea Turns Blue Is Grounded Poetry (POV Magazine)

• Fantasia 2020: Unexpected Pleasures (Cinema Scope)

• Connected: But I’m A Cheerleader/The Love Eterne (Reverse Shot, co-written w/ Ryan Swen)

• Rupture and Reform: “You Exist Too Much” Is a Meditation on Queerness and Desire (Interview/Review with Zaina Arafat for Bitch Media)

• Challenging Assumptions: Images Festival’s in support of sex work Program (The Brooklyn Rail)

• Trapped in Yonder: An Interview with Lorcan Finnegan (MUBI Notebook)

• New Toronto Works (Pleasure Dome)

• Review: And Then We Danced (Cinema Scope)

• Review: The Invisible Man (Reverse Shot)

• The Limits of Self-Representation: A Conversation on Beatrice Gibson’s “Plural Dreams of Social Life” (BlackFlash, co-written w/ Esmé Hogeveen)

• Carmen Maria Machado's In The Dream House: A Haunting (Plenitude Magazine)

• Reverse Shot’s Two Cents: Best Audience Experience Cats (Reverse Shot)

• Review: The Invisible Life of Eurídice Gusmão (Cinema Scope)

Freelance - 2019

• Delights and Despairs: 2019 Flashback (Public Parking, co-written w/ Esmé Hogeveen)

• The Exuberant, Meditative New Little Women (Hyperallergic)

• Interview: Maya Ben David’s Deep Dive Into Fan Culture (Canadian Art)

• Review: The Lighthouse (Cineaste)

• The Price of Perfection in Alice Waddington’s Paradise Hills (Tor.com)

• Exploring queer desire in HBO’s Succession (Little White Lies)

• Peter Strickland’s In Fabric: an unsettling horror full of sexual tension (New Statesman)

• Candy Coated Chemical Sublime: Jasmin Mozaffari’s Firecrackers (Canadian Art)

• Review: Booksmart (Reverse Shot)

• Uncanny Cats (MUBI Notebook)

• Review: Giant Little Ones (Reel Honey)