Issue 12

There is an unwritten but widely understood rule of the New York creative underground – a space that I have spent the last few years trying to find my place within, like so many of you. I’ve found these words to ring true, and perhaps, in many ways, they are what brought me here in the first place: Your career doesn’t begin with a job application; it begins with an act of blind faith. My own path into the costume department of the upcoming indie feature Magazine started with

On Saturday, August 8th, 2026, I had my friend and constant collaborator Becca Carter Freeman over to my new apartment. She brought me a bottle of wine and a card as my birthday was in two days. She told me I smelled good, which honestly meant a lot, because when we used to live together, she would scold me for sitting on her bed with smelly feet. I met Becca at summer camp when I was 14, and she was 16. I can’t recall meeting her and instantly becoming friends, as I can't r

Film theory can be a hard sell. Its ideas are often abstract, dense, and may seem far removed from the practical realities of making films. But the danger is that the contribution and impact theory has on filmmaking is overlooked in favor of film practice – making films. Making films is obviously the goal, but having some awareness and understanding of why we do the things we do, not just how we do them, gives us broader and deeper insight into filmmaking practice so that we

A couple months ago, my girlfriend and I took a trip to the Film Forum for a romantic escape from the misery that is New York summer heat to treat ourselves to Marcelo Mastroianni’s breakout performance in Visconti’s White Nights. It was fantastic, which I’ll provide more detail on later, but it reminded me so much of a film that I had seen a year or two ago called Four Nights of a Dreamer by Bresson. No wonder, both films are based on the same nineteenth-century novel – Whit

It’s very difficult to be a person who feels things deeply and not feel alone in that intensity, like no one else has ever felt that way before. But no matter how far back you look, the same struggles have always existed. In this age of isolation, one way I remind myself that I am no different from anyone else—that I am not uniquely inventing suffering or loneliness—is by turning to older music. In 1968, Paul Simon and Art Garfunkel released their fourth studio album, Bookend