Veronica Fitzpatrick

writes about film, teaches film studies at Brown University, and bakes on the side. Writing in Bright Wall/Dark Room, Screen Slate, Post 45, disc booklets and commentaries (often on the erotic thriller beat), and In the Mood?: Over 100 Sensual, Erotic, and Downright Horny Movie Recommendations, from A24 Books. In another, parallel life, I write about food and travel at gutomako.substack. Contact: androgyne at gmail

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I edited and cowrote (with the fabulous Elissa Suh AKA movie pudding) In the Mood?, a 220-page nightstand book of erotic film recommendations, for presale now from A24 Books.

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Contributed a postcard for Paris, Texas (1984) for L.A. Review of the Moving Image's Interlude 0 collection.

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Contributed a commentary to Goodbye Emmanuelle (1977), part of the box set Saga Erotica: The Emmanuelle Collection released by Severin Films. A critical object for erotic cinema, and my favorite of the original trilogy by far.

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Where to Look: The Silence of the Lambs (1991)

Consider how The Silence of the Lambs revolves around vision. Not only perception, but empathy and hindsight, and the non-empirical prick of

Wrote about The Silence of the Lambs (1991) for Bright Wall/Dark Room's Jonathan Demme issue.

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Sliver – Vinegar Syndrome

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Wrote a new essay, “Remote Control: the Uncanny Foresight of Sliver,” for Vinegar Syndrome’s 4K release.

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The Tenant – Vinegar Syndrome

Set during the height of the Vietnam War and deep in the swamps of Louisiana, a group of National Guardsmen have been ordered to partake in

Wrote a new essay, "Change of Address: POV in The Tenant (1976)," for Vinegar Syndrome's 4K release.

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Assume the position.

Contributed a commentary track to Imprint's rerelease of Secretary (Steven Shainberg, 2002).

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It's Graduation: May December (2023)

What Todd Haynes builds in 'May December' is less a trick mirror than a kaleidoscope, to refract a thought in all directions.

On May December (2023) for Bright Wall/Dark Room.

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Raising Cain

In her review of Body Double (1984), noted Brian De Palma fan Pauline Kael lambasted De Palma’s latest film for merely, emptily doing De Pal

On Raising Cain (1992) for Nitehawk Prospect Park's 35mm screening, for Screen Slate.

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Our Terrible Joy: from NYFF 61 (cont.)

The final installment of BWDR at NYFF 61, with looks at Priscilla (Coppola), Last Summer (Breillat), and Ferrari (Mann).

NYFF61 coverage for Bright Wall/Dark Room, part two. Films: Priscilla (Sofia Coppola), L'Éte dernier (Last Summer, Catherine Breillat), Ferrari (Michael Mann).

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The Power of Love: from NYFF61

Whenever I see a bunch of films in a condensed period, my notes run conspiratorial: an inventory of the weird resonances that link one to an

NYFF61 coverage for Bright Wall/Dark Room, part one. Films: All of Us Strangers (Andrew Haigh), Anatomy of a Fall (Justine Triet), Strange Way of Life (Pedro Almodóvar), The Zone of Interest (Jonathan Glazer).

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Introducing a new issue (Issue 14: Spell) and redesign of world picture (online open-access journal + conference). Next meeting Nov. 17-18, Berlin.

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Perdita Durango

For those inclined to level up—or down?—from New York’s ubiquitous repertory screenings of Wild at Heart (1990), Perdita Durango (1997) mine

On Perdita Durango (1997) for Roxy Cinema's 35mm screenings, for Screen Slate.

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Eros in Retrograde: 20 Years Later, In the Cut Still Has It

The cult erotic thriller not only provokes and unsettles, but also follows a genre truism: everyone is horny and no one can be trusted.

On In the Cut (2003) for Downtime.

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The Game

In The Game (1997), credible briefcase-carrier Michael Douglas plays financier Nicholas Van Orton, a glacial adaptation of Fatal Attraction’

On The Game (1997) for Nitehawk Williamsburg’s 35mm screening, at Screen Slate.

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Voter page for Veronica Fitzpatrick

My critic's ballot for the Greatest Films of All Time.

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The Hand that Rocks the Cradle

Following The Bedroom Window (1987) and Bad Influence (1990), Curtis Hanson’s most elegant “erotic” thriller sensationalizes a thought at th

On The Hand That Rocks the Cradle (Curtis Hanson, 1992) for Nitehawk Williamsburg's 35mm screening, at Screen Slate.