Bright Wall/Dark Room is currently accepting submissions for our monthly online magazine. Each issue is built around a particular theme, and we open up the submission process for each new issue 1-2 months in advance of the submission deadline. We are also now accepting general pitches and submissions (off-theme) for consideration. 

We’re looking for thoughtful analysis and wholehearted engagement, as opposed to standard reviews, clickbait, or hot takes. We publish interviews, profiles, formal analysis, cultural criticism, personal essays, and humor pieces. We're looking for writing that is savvy and insightful about filmmaking, but that also grapples in some way with the business of being alive. 

We tend to publish critical essays between 1500-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged.


To quote the poet, "You wanna live fancy? Live in a big mansion? Party in France? You better work, bitch."

"Work" is the theme of our upcoming September issue. Work that gives life meaning, work that sucks, work that changes a person, work that brings a person face to face with a moral conundrum. A life's work, a calling, a trial, a great project, a part-time job. For good or ill, the answering (or ignoring) of one's call to service becomes a part of who that person is.

We're interested in your takes on movies that revolve, in some way, around work—career arcs, labor & unions, the undertaking of great works, and the less-than-glamorous work we do to keep food on the table. As always, we're less interested in by-the-book reviews and hot takes (we certainly already know that Office Space skewers the modern workplace), and more interested in thoughtful essays, deep dives, and heartfelt engagement. Feel free to draw on the films listed below, or use them as a jumping off point to one of your favorite films.


  • Working Girl
  • Broadcast News
  • Clerks
  • The Devil Wears Prada
  • 9 to 5
  • High Fidelity
  • Wall Street
  • Up in the Air
  • Empire Records
  • The Intern
  • Waitress
  • His Girl Friday
  • Glengarry Glen Ross
  • The Social Network
  • Norma Rae
  • Modern Times


  • Bridge Over the River Kwai
  • Mr Holland's Opus
  • Frida
  • Erin Brockovich


  • The Insider
  • Training Day
  • The Work
  • Sicario
  • All the President's Men
  • Stand and Deliver
  • 12 Angry Men
  • Good Night, and Good Luck
  • The Princess Bride


  • Goodfellas
  • Baby Driver
  • Heat
  • The Godfather
  • A Fish Called Wanda
  • Man on Wire

We plan to publish 8-10 submitted pieces in this issue, and the rest will be comprised of essays from staff writers. Currently, we are able to pay $50 for any published piece. We publish interviews, profiles, formal analysis, cultural criticism, personal essays, and humor pieces. We tend to publish critical essays between 1800-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged.   

In order to be considered for this issue, we will need to receive a first draft of your piece by August 6, 2018.  

If you haven’t written for us before and want to know more about the submission process, or if you have a few different ideas and aren’t sure which one to pursue, please feel free to email the editorial team ( prior to the submission deadline with any pitches or questions. Also, before submitting, please check our site to make sure we haven't already covered the film you want to write about, as we typically don't publish something on the same film twice within a year (a simple search of the film's title on the search bar should give you this information). 

For additional information, visit our Submissions page:

We welcome unsolicited essay submissions of any length, on any film or television related topic. If you'd like to submit a pitch or an essay to our editorial team, this is the place to do it. However, before you submit your piece, we recommend that you read our current issue online, or browse through our archives a bit, to get a sense of the kinds of things we tend to publish.

Please note: due to the number of submissions we receive, we aren't always able to respond to every single pitch or submission. However, if we are interested in your pitch or submission, you will be contacted within one month.