Natalia Keogan is a journalist and writer whose focus lies in the film industry. She writes for FILMMAKER magazine and her work has also been featured in the Houston Chronicle and Paste Magazine. Natalia covers a range of topics including film festivals, independent films, and interviews with directors and filmmakers.
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Natalia Keogan's focus is on the film and documentary industry, with a significant emphasis on announcements. Her coverage indicates a preference for exclusive content and expert commentary, suggesting she may be open to pitches providing unique access or insights into the film industry.
Given her focus on announcements and exclusives, Natalia would likely welcome pitches that offer behind-the-scenes details of upcoming films, documentaries, or related events. Additionally, she might be interested in interviews with industry experts who can provide valuable perspectives on trends within the film and documentary sectors.
While Natalia does not appear to have a specific geographic focus, her coverage primarily encompasses entertainment news from various locations without a particular regional bias.
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Photo Source: Conrad Ricamora and Cole Escola in “Oh, Mary!” Credit: Emilio Madrid
By: Natalia Keogan
Publication with a focus on independent film, offering articles, links, and resources.
By: Natalia Keogan
Publication with a focus on independent film, offering articles, links, and resources.
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By: Natalia Keogan
English kitchen-sink realist Andrea Arnold makes a daring move toward the surreal in her first narrative feature in eight years.
Spellbinding holiday tale Christmas Eve In Miller’s Point conjures nostalgia that never veers toward cloying.
By: Natalia Keogan
The somber existence of a reclusive electronic musician is the focus of Allen Sunshine
Publication with a focus on independent film, offering articles, links, and resources.
By: Natalia Keogan
, DOC NYC 2024, Yalla Parkour Threads concerning family, identity and resistance are carefully interwoven in Yalla Parkour, Palestinian filmmaker
By: Natalia Keogan
When she first started filming in the Republic of Artsakh—a small “breakaway” state where most residents were ethnically Armenian, but lived under the control of Azerbaijan—Emily Mkrtichian was planning to portray the pivotal roles local women play 30 years after experiencing a violent war. But her project was thrust in a completely different direction when the small sovereign state became besieged by sudden conflict once again.
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