When Everything Clashes
The flagship practical piece — a decision framework for the moment when five things you want are happening simultaneously.
The schedule is talking. Most people never listen.Reading the Room · 5 pieces →
The same film is three different films in three different rooms.The Screening Itself · 5 pieces →
Grain is information, not nostalgia.Formats & Prints · 4 pieces →
Clashes happen to people who want too much. Want too much.Festival Craft · 5 pieces →
The ten minutes after the credits are the ten minutes that matter.After the Credits · 3 pieces →
Midnight Slots Are Not for Night Owls
Late-night programming is a placement decision, not a reward for stamina — the slot tells you something specific about how the programmer is categorising a film.
READ →How Queuing Works Against You
A drily observed account of what actually happens to your day when you commit to a queue — the time cost, the opportunity cost, the social dynamics — and a set of working rules for when queuing is worth it and when it is simply a way of feeling like you are doing something.
READ →The Foyer Conversation
The ten minutes between the credits and the street are when festival-going is most itself — this piece makes the case for the immediate, unpolished conversation as a form of criticism and describes what gets lost when you wait until later to say what you thought.
READ →
The Case for the Back Row
A photography-led piece built around images of auditoria shot from the rear — makes the practical and perceptual argument for why habitual festivalgoers gravitate to the back, and what that seat position does to how you experience the room as well as the screen.
