First-Year MFA Creative Nonfiction Mentor
Alissa Wilkinson is a critic at The New York Times and a First-Year MFA Creative Nonfiction Mentor. She has been writing about the film industry and arts since 2005, covering themes such as comedy, climate policy, and global warming. Alissa is featured in numerous publications, including Vox, The Dallas Morning News, and The Salt Lake Tribune.
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Alissa Wilkinson’s coverage predominantly consists of movie reviews, event coverage, and expert commentary within the film industry. She seems to be interested in unique perspectives on movies, particularly those that have cultural or societal implications.
Given her focus on lifestyle and entertainment themes like film, Oscars, movie reviews, Hollywood, and pop culture; she would likely appreciate pitches from experts who can provide insightful analysis into emerging trends in the film industry or offer a fresh take on popular culture phenomena related to cinema.
As Alissa doesn't have a specific geographic focus mentioned but covers international aspects of films and entertainment-related topics. Therefore, consider providing insights that are globally relevant rather than region-specific when reaching out to her with pitches.
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‘A Sad and Beautiful World’ review: A love to overcome fear
Willem Dafoe stars as a former poet charmed by a group of would-be young artists.
By: Alissa Wilkinson
In “The Bend in the River,” Robb Moss catches up with the subjects of two of his previous films as they reflect on their lives and what’s left.
A taut, efficient thriller about four recent graduates on a road trip delivers existential dread.
By: Alissa Wilkinson
In “Never Stop Chasing,” the dangerous livelihood of storm hunting is underpinned by a rare intimacy among men who grew up together
THE NEW YORK TIMES: IFinanced through a viral YouTube sketch and a virtual-reality poker game, this unlikely horror proves limitations can be a filmmaker’s greatest asse
A delightful tale that nails the tone of the Looney Tunes shorts while telling a new story, too.
By: Alissa Wilkinson
Studios may think that stories drew moviegoers, but it was the people behind hits like “The Odyssey” and “Obsession” that drew patrons again and again.
THE NEW YORK TIMES: A delightful tale that nails the tone of the Looney Tunes shorts.
Studios may think that stories drew moviegoers, but it’s the people behind hits like The Odyssey and Obsession that bring in the crowds.
