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 on or around the 15th of the month, with a three-week submission window.

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 hum

or 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 2,500-4,000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged.

For further advice and answers to FAQs, please check out The Bright Wall/Dark Room Guide to Pitching & Submitting

Please note: as of April 2021, we have decided to close down our Off-Theme Submissions form. For some explanation on that decision, please consult the Pitching & Submitting Guide.

As is tradition, our first issue of 2023 will be focused on the films and TV of 2022!

Every year has a bounty of buzzy titles to choose from, and we’d love to get essays on [extremely deep breath] Everything Everywhere All At Once, RRR, The Northman, The Banshees of Inisherin, Athena, Wakanda Forever, Triangle of Sadness, Aftersun, and Bodies Bodies Bodies.

But there are ways to combine a few movies into one essay, too—and, of course, so many great titles we don’t want to get lost in the shuffle. So a few more thoughts to get you started…

This year we had boundary-pushing animation (from the controversial hormonal material in Turning Red to the trans character and prison abolition messages in Wendell and Wild).

We had buzzy horror (X and Pearl, Barbarian, Men) and landmark gay romcoms (Fire Island and Bros).

It’s been a big year for auteur projects, too, from the thinly-fictionalized memoirs (David Gray’s Armageddon Time and Steven Spielberg’s The Fabelmans) to the highly-anticipated returns to the screen (George Miller’s Three Thousand Years of Longing, Andrew Dominik’s Blonde, Jordan Peele’s Nope, and David Cronenberg’s Crimes of the Future, to name a few).

And let’s not forget the amazing work being done outside the bounds of a feature runtime, from The Dropout to Rothaniel and far beyond!

We could spend all day rattling off great stuff from 2022 (seriously, who’s bringing us their Confess, Fletch take?) but we’ll leave it to you instead. We can’t wait to see what you come up with!

Please be advised that the following titles are likely—though by no means absolutely certain—to already be covered for the issue: Tár; Halloween Ends; Top Gun: Maverick; Armageddon Time; Bones and All.

In order to be considered for the issue we’ll need to receive a complete first draft of your essay via Submittable by December 16, 2022.

Please be advised that given the high volume of interest for what’s typically 8 - 12 publication slots in a month, and to level the playing field between emerging and established voices, we rely primarily on Submittable in finding essays for each issue, and we do ask for full first drafts for consideration (pitches sent to Submittable are often seen too late to be considered). We completely understand that for many writers, working on spec is too much of an expenditure of time and energy for an uncertain result. For that reason, we’re happy to accept e-mailed pitches via Please include a rundown of the idea, a projected word count (we usually publish work between 2,000 and 4,000 words), a sense of what makes it a great fit for BW/DR (usually some distinctive form or offbeat focus that would set it apart from outlets more focused on news and reviews), and a few links to pieces published at outlets with editorial oversight. On pitches, we will offer a solid yes or no, and a rejection may represent a range of reasons unrelated to the quality of your work—given our roster of regular contributors and our desire to save a few slots each month for Submittable discoveries, pitching is, for better or worse, a fairly competitive prospect!

Before submitting, please check our archives to make sure we haven't covered the film you hope to write about within the last calendar year (we even have an alphabetized database of every film we've covered under the "Films" tab for extra convenience). For additional information, visit our Submissions page:

Bright Wall/Dark Room