Film Criticism
GO-TO: “Revenge” (2017) Dir. Coralie Fargeat, Boston Hassle
GO-TO: “Close Encounters of the Third Kind” (1977) Dir. Steven Spielberg, Boston Hassle
REVIEW: “Wicked” (2024) Dir. Jon M. Chu, Boston Hassle
SERIES: Everything is Fine: The Films of David Lynch, Boston Hassle
REVIEW: Joker: Folie à Deux (2024) Dir. Todd Phillips, Boston Hassle
BUFF Review: “With Love and a Major Organ” (2023) Dir. Kim Albright, Boston Hassle
GO-TO: “Leave No Trace” (2018) Dir. Debra Granik, Boston Hassle
Early Warning: Still Walking: The Cinema of Hirokazu Kore-eda, Boston Hassle
Year-Ender: Karenna Umscheid’s Best Needle Drops of 2023, Boston Hassle
REVIEW: “How to Have Sex” (2023) Dir. Molly Manning-Walker, Boston Hassle
The Karenna Oscars!, Your Magazine
Year-Ender: Karenna Umscheid’s Top Ten Films of 2023, Boston Hassle
REVIEW: “Mean Girls” (2024) Dir. Samantha Jayne & Arturo Perez Jr, Boston Hassle
IFF Boston Fall Focus Review: “Perfect Days” (2023) Dir. Wim Wenders, Boston Hassle
IFF Boston Fall Focus Review:; “Monster” (2023) Dir. Hirokazu Kore-eda, Boston Hassle
Why We’re Still Dreaming, Thirty Years Later, Latent Images Magazine
Music Criticism
Arts and Culture Reporting
Community engagement and creative recipes are the key to success at Union Square’s backbar, The Somerville Times
With trivia nights, live music and drag events, Aeronaut emphasizes community with beer, Cambridge Day
The Huntington’s production of Fat Ham remixes a classic tale for today’s world, The Berkeley Beacon
Little Fuss in the Big Boston Scene, Milk Crate
The Masonic Temple of Boston opens its doors to the public, The Berkeley Beacon
Academic Writing
“Transnational Longing, Restless Desire, and Monkey Ghosts: Memory and Postcolonialism in Southeast Asian Cinema.” 2024, Emerson College Honors Program.
My honors thesis combines my passion for history, cinema, and post-colonial studies, and is largely inspired by my own experience being Thai-American. I analyzed the films of Apichatpong Weerasethakul and Wong Kar-Wai in relation to the colonial histories of Thailand and Hong Kong, and examined the ways these filmmakers reject the postcolonial legacies of the region and forge a new, reimagined future through cinema.