poetry reading!

I am reading poems on Monday, 4/21 at One and One.

First Floor Walk Up Presents Bi-Weekly Readings of

Poetry and Prose at

One and One

76 E. 1st St. @ 1st Ave

F Train to 2nd Ave Station

FREE

Monday, April 21st, 7 PM

MEGHAN GRUPPOSO

Originally from the gorgeous woods of southern New Hampshire, Meghan Grupposo holds a BFA in Dance from The Juilliard School. She is a co-founder, former COO and co-editor of NeuroNautic Institute Presents and Press. Meghan’s work can be found in her handbound chapbook, Bouquet (NeuroNautic Press), & in various anthologies, including NYC From the Inside (Blue Light Press), arriving at a shoreline and Escape Wheel (great weather for MEDIA), the Dada Journal Maintenant, Issues 14-17 (Three Rooms Press), Love Love Magazine, Polarity, & Rucksack a Global Poetry Patchwork’s multimedia project, Hair in the Wind. She’s a 2020 Pushcart Prize nominee. Meghan happily resides in New York City with her two cats.

ANDREA DeANGELIS

Andrea DeAngelis is at times a poet, writer, shutterbug and musician living in New York City. Her writing has recently appeared in Carmina Magazine, Corvus Review, HauntedMTL and Bowery Gothic. Andrea also sings and plays guitar in the indie rock band MAKAR (www.makarmusic.com) who are currently recording their fourth album, Exit Earth. She tries not to disturb her neighbors by putting her guitar amp in the closet.

MARK PURNELL

Mark Purnell is a writer, investor and musician living in New York City. His writing has recently appeared in The Molotov Cocktail and he is currently working on his debut novel. Mark sings, writes and plays piano in the indie rock band MAKAR (www.makarmusic.com).

JEFFERY BERG

Jeffery Berg is a writer who lives in Jersey City. He received an MFA from NYU. His poetry has appeared in various journals, including most recently in Pine Hills Review. His film criticism can be found at Film-Forward. His debut poetry collection, RE-ANIMATOR, is forthcoming in 2026 from Indolent Books.

VIRGINIA RANDALL

Virginia Randall grew up on the Lower East Side and her work has appeared in Narratively, Italian-Americana, Straus Newspapers and various blogs. She is a freelance culture writer and former UPI reporter. This reading takes place where she bought her comics as a kid.

the visitor

My review of The Visitor, Bruce LaBruce's punchy and profane reworking of Pier Paolo Pasolini’s 1968 Teorema, is now up at Film-Forward.

viet and nam

My review of Truong Minh Quy’s Viet and Nam is up at Film-Forward. The scenes plumbing the haunted, war-scarred history of Vietnam are particularly affecting.

momi first look 2025 festival

I was fortunate to review an amazing array of films that are a part of MoMI's 2025 First Look Festival.

Feature film reviews of 100,000,000,000,000, When the Phone Rang, and Windless here at Film-Forward.

Documentary film reviews of Elementary, Songs of Slow Burning Earth, Zodiac Killer Project here at Film-Forward.

black bag

In addition to Presence, I also enjoyed the (very different) Steven Soderbergh and David Koepp collaboration of Black Bag.

My Film-Forward review is here.

re-animator

I am pleased to officially announce that my debut poetry collection, Re-Animator, is slated for release in 2026 from Indolent Books! Preorder and cover reveal tk. 

misericordia

Looking through the spotty glass of a car window at a winding rural road is a fitting opening to Alain Guiraudie's intriguing, carefully studied Misericordia (the title, in part, references the Latin word for "mercy"). Taking place within a quaint French village, with its characters consisting of only a handful of folks, who seem to be the only ones shown of its citizenry, Guiraudie's film is muddy and knotty.  It's a morality tale that's anti-morality, yet also one that resists the declarative. The film renders a jumble of tones: perversely comic, dry, sensitive, addled.   

The enigmatic Jérémie (Félix Kysyl) comes back to his hometown after the death of an older man he once worked with as a baker. The film suggests that Jérémie was fond of the departed, and perhaps had a sexual relationship with him, or at least, a desire for one. Jérémie stays with the man's widow, Martine (Catherine Frot), for a lodging that seems to be lasting for an abnormally long amount of time. Over the course of these days, Jérémie is threatened by Martine's son Vincent (Jean-Baptiste Durand). Jérémie has taken over Vincent's adolescent bedroom (walls lined with pictures of footballers), and both seem to be harboring simmering animosities towards one another that quickly escalate.

Meanwhile, Jérémie visits, drinks and conversates with a family friend, Walter (David Ayala), for whom Jérémie seems to be attracted to as well (as with his other works, Guiraudie's portrayal of older, schlubby, overweight men as against-the-norm cinematic objects of sexual desire continues in this film as well, quite delightfully). Throughout, a reserved priest (Jacques Develay) mills about in the background, sometimes popping up in the most inopportune moments. This cluster of townsfolk, of intermingling yearnings, makes for a tense, dryly amusing tinderbox. Much of the characters' most uncouth, secretive, and violent behavior occurs within the attractive backdrop of the village's woods—a damp, leafy, fog-draped setting of mushroom foraging and intimate conversations and clashes. 

Guiraudie's film is a well-plotted and characterized tale, its unraveling mostly surprising, with a bevy of understated wit. It doesn't thunder its way to a satisfying conclusion. Instead, it reaffirms its sense of lonesome, dirt-speckled windshield wandering. Claire Mathon, a wonderful cinematographer and frequent collaborator with Guiraudie, shoots the film with a chilly, shrewd feel. The film often cycles through various tones and times of day within its deceptively tranquil settings: the ice blues of morning, the warmth of afternoons, and the unnerving dark of night. When lights suddenly (almost violently so) flick on in a room, the film expresses a flat, unattractive feel (to an amusing degree in one of the priest's later scenes). Through a queer lens, there were some subtleties I was picking up on throughout; there were things resonating with myself deeply that maybe others would feel as strongly about. I sometimes wondered during its screening, Am I the only one seeing this? The film would probably say back to me if it were a person, You aren't that special. ***

-Jeffery Berg

Misericordia, which received praise out of last year's film festivals, is finally making its way to a domestic theatrical release (where best viewed) through Sideshow and Janus Films on March, 21st.