Women aren’t the stories you think their bodies tell you. Read More
PositionSenior Editor
JoinedMay 27, 2017
Articles16
Kelsey Ford is a Senior Editor at Bright Wall/Dark Room. She currently lives in Los Angeles with her two cats and one dead houseplant. Her work has previously appeared in Pacific Standard, The Millions, and Storychord.
As a season, Twin Peaks: The Return contains itself; it answers its own questions and then undoes its entirety. Read More
In each film, by the end, you feel you know the character’s fears, their monstrous wants and needs—and the ways they fight the snowballing desire within. Read More
The world of Howl’s Moving Castle, filled with mystery and magic, strips away the truth of a body’s danger. Read More
On Manchester by the Sea and the weight of grief. Read More
Joachim Trier’s first film, Reprise, is the Norwegian Kicking and Screaming, the male Virgin Suicides. Read More
What does it mean to be a good person? Is it a small thing, or is it big? Is it enough to try? Read More
That old Joan Didion aphorism—“We tell ourselves stories in order to live”—has never felt more real to me than it did this year. Read More
A Very Long Engagement is a fable about grief and young love. Read More
Rear Window is a movie about the stories we choose to tell. Read More
No one thing pushed me over. I’d been on the brink for awhile. Read More