Justin Chang is a film critic at The New Yorker. He specializes in movies and reviews, contributing to NPR’s “Fresh Air” and previously serving as the film critic for the Los Angeles Times. Chang's work has been featured in numerous publications, including The Roanoke Times and the San Diego Union-Tribune, and he has received accolades such as the Pulitzer Prize for criticism in 2024.
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Justin Chang’s focus on film reviews and entertainment news indicates a strong interest in coverage related to the movie industry, including individual films, actors, and directors. Pitches regarding new releases, interviews with filmmakers or actors, or stories about upcoming events in Los Angeles' vibrant entertainment scene may resonate with him.
Given his emphasis on local coverage of Los Angeles and California as well as international historical topics like WWII-era Amsterdam, pitching ideas that combine these elements could be especially effective. For example, stories about local film festivals featuring international cinema or profiles of Californian talent involved in historically themed productions might catch his attention.
With 73% of Justin's articles being reviews and an overall theme focused mainly on Entertainment News (52%), pitches for film critics’ perspectives or exclusive behind-the-scenes access to major movie productions would likely align well with his beat.
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By: Oscar Schwartz, Justin Chang, Louisa Thomas, Jia Tolentino, Timothy Snyder, David Remnick, E. Tammy Kim, Ronan Farrow, Naomi Fry, Hannah Jocelyn, Joshua Yaffa, John Cassidy
From the daily newsletter: the philosopher L. A. Paul on transformative experiences. Plus: Instagram’s favorite New Yorker cartoons; ingenuity and daring in “Nickel Boys”; and the coming purge of Trump 2.0.
By: Jennifer Gonnerman, John Cassidy, David Sedaris, Helen Rosner, Paige Williams, Justin Chang, Louisa Thomas, Thomas Meaney, Jackson Arn, Jessica Winter, Oscar Schwartz
Maggie Shannon’s black-and-white images of childbirth in the COVID era capture the awe-inspiring, quotidian experience of turning one person into two.
By: Louisa Thomas, Justin Chang, John Cassidy, Jennifer Gonnerman, Jessica Winter, Thomas Meaney, Oscar Schwartz, David Sedaris, Jackson Arn, Helen Rosner, Max Norman, Paige Williams
Damion Searls, who has translated a Nobel laureate, believes his craft isn’t about transforming or reflecting a text. It’s about conjuring one’s experience of it.
By: Jennifer Gonnerman, Justin Chang, John Cassidy, Louisa Thomas, Jessica Winter, Thomas Meaney, Oscar Schwartz, David Sedaris, Jackson Arn, Helen Rosner, Jia Tolentino, Paige Williams
What the death of a health-insurance C.E.O. means to America.
By: Justin Chang
Earlier this year, Iranian filmmaker Mohammad Rasoulof fled his country to escape an eight-year prison sentence. His new film centers on a middle class family grappling with Iran's social unrest.
By: Justin Chang
When one of her friends is injured at a rally, Rezvan (Mahsa Rostami, center) becomes increasingly supportive of the movement challenging Iran's authoritarian regime.
In his latest film, the director Brady Corbet depicts the fate of a brilliant Hungarian architect, who lands in the United States after surviving Buchenwald.
Nickel Boys is one of the most thrillingly inventive literary adaptations our critic has seen in years, while The Brutalist is a rare American films that feels genuinely worthy of the word "epic."
By: Justin Chang
It's a common complaint among moviegoers that the best new films aren't released until the last few months or even weeks of the year, so as to maximize their Oscar prospects. While that's not always the case — great movies are, in fact, released all year round — I do wish audiences hadn't had to wait until December to see Nickel Boys and The Brutalist. They're both ambitious period dramas, directed by two filmmakers of extraordinary talent and vision.
By: Justin Chang
Justin Chang | December 20, 2024 It's a common complaint among moviegoers that the best new films aren't released until the last few months
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