Ends on January 31, 2019

For our March issue, we’re looking back a quarter century at the year of Britpop and the Bronco chase, the days of Doc Martens and Air Jordans, the dawn of Yahoo and Amazon, and a massive year for film and TV. That’s right, we’re looking for intelligent writing on the best, the most interesting, and the most unjustly forgotten works of 1994.

Of course there are myriad directions you could take this, but a few reminders of the year to get you started:

It was a year that saw some of our most significant filmmakers making their debuts (Wes Anderson’s Bottle Rocket, Danny Boyle’s Shallow Grave) others turning in their most interesting and idiosyncratic works (Peter Jackson’s Heavenly Creatures, the Coen Brothers’ The Hudsucker Proxy) and still others delivering their masterpieces (Kar-Wai Wong’s Chungking Express, Tim Burton’s Ed Wood).

It was a year of unique trends, as Jim Carrey went from obscurity to the biggest name in Hollywood with the hat trick of Ace Ventura: Pet Detective, The Mask, and Dumb & Dumber, classic Universal monsters got a sexy makeover in Mike Nichols’ Wolf and Kenneth Branagh’s Frankenstein, kids rescued major league baseball teams in Angels in the Outfield and Little Big League—and, of course, who could forget some of the finest action movies of the VHS era, from Speed to True Lies and beyond.

It was a year ripe for reexamination and reevaluation. What impact has the distance of two-and-a-half decades had on how you view the year’s defining hits (Forrest Gump, Pulp Fiction) and bombs (The Flintstones, North)? And, most importantly, what has had the biggest impact on you over the years beyond what film history has etched into stone?

As always, 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 1800-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged. 

We pay $50 per essay upon publication.

In order to be considered for the issue we’ll need to receive a first draft of your essay by January 31, 2019.

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 (editors@brightwalldarkroom.com) prior to the submission deadline with any pitches or questions. Also, 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: http://brightwalldarkroom.com/submissions/