Matthew Eng

It’s Not Just Me: Mike Leigh’s Hard Truths | Reverse Shot (December 2024)

Solid as a Rock: India Donaldson’s Good One | Reverse Shot (August 2024)

Bad Idea, Right?: Catherine Breillat’s Last Summer | Reverse Shot (June 2024)

More Life: An Appreciation of Steve Buscemi in Bill Sherwood’s Parting Glances | Sundance (February 2024)

The Cost of Living: Lila Avilés’s Tótem | Reverse Shot (January 2024)

Two Cents: Capsules on Penélope Cruz in Michael Mann’s Ferrari and Natalie Portman in Todd Haynes’s May December | Reverse Shot (January 2024)

Make Way for Tomorrow: Documenting the Struggle in Madeline Anderson's Integration Report 1 (1960) | Black Camera (Fall 2023)

You Make Me Feel Mighty Real: Garth Davis’s Foe | Reverse Shot (October 2023)

Many Things at Once: Revisiting Robert Altman’s Nashville | Reverse Shot (September 2023)

What the World Needs Now: Babak Jalali’s Fremont | Reverse Shot (August 2023)

A Light Under the Door: Remembering Mary Alice | Hazlitt (August 2023)

Hungry Hearts: Ira Sachs’s Passages | Reverse Shot (August 2023)

Those Who Leave and Those Who Stay: Celine Song’s Past Lives | Reverse Shot (June 2023)

The State of the Art: Kelly Reichardt’s Showing Up | Reverse Shot (April 2023)

Lean on Me: Jean-Pierre and Luc Dardenne’s Tori and Lokita | Reverse Shot (March 2023)

Home Movie: 35 Shots of Rum Remains One of Claire Denis’s Most Personal Works | Downtime (March 2023)

Handle with Care: A Dispatch on Documentaries at Sundance 2023 | Reverse Shot (February 2023)

Breathing Room: Standout Narratives at Sundance | MUBI Notebook (February 2023)

Mitchell Leisen’s Remember the Night (1940) | Screen Slate (January 2023)