1. Selected reviews and articles

• ‘Man Number 4’ e la colpevolezza di essere spettatore / ‘Man Number 4’ and the guilt of being a spectator, review by Giacomo Mosca, Taxidrivers, May 2025
• A Cinema to Hold in the Hand: Notes on the 7^th Annual Cosmic Rays Film Festival, Genevieve Yue, April 2025 (para 5 on Man number 4)
• Flavia Dima ‘The best video essays of 2024‘, BFI Sight and Sound, Dec 2024
• ‘How we consume images and what it means to be a distant onlooker lie at the heart of Miranda Pennell’s sobering, analytical short’ The Film Verdict, Ben Nicholson at IDFA, Nov 2024.
• Digital Witnesses: Man number 4‘, review by Patrick Gamble, Talking Shorts, Nov 2024
• ‘The Future of an Illusion – In the New York Film Festival’s Currents slate, what do novelty and innovation amount to if they don’t respond to the present moment?‘, review by Phil Coldiron, MUBI Notebook, Nov 2024 [on ‘Man number 4’ from p6]
• 62nd New York Film Festival, “Currents”, review by Almudena Escobar López, e-flux Criticism, on work by Adam Piron, Miranda Penell, Maryam Tafakory, Malena Szlam.
• ‘Man Number 4’, Selma Dabbagh, LRB blog, May 2024
• ‘What Can You See: On Man Number 4 and background‘, Deidre McAteer, Open City Texts, April 2024
• Open City Documentary Festival 2023: The Art of Non-Fiction – Alex Fletcher reports on the contested role of subjectivity in recent documentary filmmaking, in Art Monthly.
• ‘Disrupting the Archive‘ Miranda Pennell’s ‘Trouble’ and Sanaz Sohrabi’s ‘Scenes of Extraction’, by Henrietta Williams, Open City Texts, September 2023
• ‘FidMarseille 2023, Bon An, Mal An’, review of ‘Trouble’ in Debordements (Français), August 2023
• ‘TROUBLE – Miranda Pennell FID Marseille‘ ’23 Review, by Michael Sicinski, In Review Online, July 2023
• Collective Records: New York Film Festival’s Currents, MUBI Festival Notebook, October 2021
• Berlinale ’21 Summer Special: ‘Strange Object’, review (German language) by Lida Bach, for Cinemagicon
• ‘Strange Object by Miranda Pennell’, Camilla Peeters at Berlinale Shorts, Ultradogme, June 2021
• Review: ‘Strange Object’ by Marko Stojiljkovic, Ubiquarian 2021
• ‘Short Film – Strange Object’, Steve Taylor-Bryant at London International Film Festival, The Dream Cage 2021
• Resquebrajar la Historia [Cracked History] Ana Vaz’s “Pseudosphynx” and Miranda Pennell’s “Strange Object” propose deconstructions of national histories corrupted by colonialism. Mariona Borrull in Ostros Cines Europa (March 2021) English translation here.
• ‘Strange Object’ / through the eyes of Saskia Walker, Berlinale 2021
• ‘Living with Contradictions: on whiteness, post colonial art and belonging’, Nina Mangalanayagam in Parse Journal, Issue 11, Summer 2020.
• ‘Withholding Patterns’ (feature on The Host) by Yusef Sayed, in Underline Magazine,  4, Autumn 2018: The Abadan Issue, British Council, 2017 . Available in English and Persian [https://iran.britishcouncil.org/en/underline/editorial]
• ‘Dissecting patriarchy in the intimacy of the archive through the work of RAMESCH DAHA, TATIANA LECOMPTE, MIRANDA PENNELL’ by Aesa Sigurjonsdottir;
  Eikon #100 – Special Issue, International Magazine for Photography & Media, pp57-68,  (Vienna, November 2017)
• ‘Miranda Pennell and Pathchwork Archivists at Open City Docs 2017’ by Reeling the Real (September 2017)
• Ars Moriendi, or How To Film a Sculpture: The 11th Punto de Vista Festival, report in Senses of Cinema (June 2017)
• ‘La memoria presente del colonialismo/The present memory of colonialism’ review of The Host in Otros Cines Europa by Manu Yáñez (9th March 2017). English translation here: ‘The present memory of colonialism’
• Review of the  exhibition  «Nous pourrions danser ensemble» at Le Commun, Bâtiment d’art contemporain, Geneva, in the Tribune de Geneve (Sept 2016)
• ‘Thieves in the temple: reframing the archive with Miranda Pennell and Sarah Wood’ by Sophie Mayer (March 2016) feature in Sight & Sound.
• ‘The Host’ review in Sight & Sound by Sukhdev Sandhu (April  2016)
• Pleasure Dome: Far From Iran reviewed in Hello Cinema, an English-language website dedicated to Iranian cinema.(July 2016).  [Two films about Iran: Taravat Khalili’s Does the Sand Hear the Waves? and Miranda Pennell’s The Host.]
• ‘In Praise of Courtisane’, review of the 2016 Courtisane festival, Lumiere (www.elumiere.net)
• ‘Tattoo’, catalogue essay in ‘Europe – The Future of History’, Kunsthaus Zurich (2015).
• ‘Fictional Truths’ by Maria Palacios Cruz in “Document, fiction et droit en art contemporain”  Académie Royale des Beaux Arts (Brussels) and PUP (Université d’Aix/Marseille) [Why Colonel Bunny Was Killed
• ‘Why Colonel Bunny Was Killed’, by Adi Chesson for Format Court (2011) [French]
• ‘Throwing some weight around – Cornelia Parker, Rosemary Butcher, Miranda Pennell’  by Lizzy Le Quesne essay in Dance Theatre Journal (2010) [You made me love you]
• Portrait: Miranda Pennell by Wiktoria Peltzer for Vienna Independent Shorts (2011)
• ‘Choreographies for the Camera’ profile on Miranda Pennell, catalogue essay by Dirk Shaeffer for the 52nd Internationale Kurtzfilmetage Oberhausen (2006)

2. Interviews

• Miranda Pennell in conversation with Marko Milovanovic: un-archiving imperialism (2023, video)
• ‘Strange Objects: Conversations around four films by Miranda Pennell’, Kamila Kuc and Jananne al-Ani in Found Footage Magazine (Issue 9, October 2023)
• FID Marseille interview on TROUBLE (2023) with Margot Mecca [click tab on right]
• ‘Miranda Pennell on Strange Object’ Comrades of the Kino podcast. In this episode, the comrades interview filmmaker and scholar Miranda Pennell about her new film Strange Object. We discuss the Dervish resistance in British Somaliland, tropes of the colonial encounter and colonial warfare, as well as her personal approach the ambiguity of photographs. 04.06. 2021
• ‘A Q&A with Miranda Pennell, artist and filmmaker‘ by Chris Sharratt (March 2016) in a-n.
• ‘Selective memory and partial remembrance are a problem‘ Miranda Pennell interviewed by Georgia Korossi (March 2016) for the BFI
• ‘A filmmaker on archives and autobiography: Photos always make you feel they hold a secret beyond their obvious meaning’ (March 2016)
• Indiewire presents London Film Festival 2015 Women Directors: Meet Miranda Pennell – ‘The Host’ (October 2015)
• On working with archives. Miranda Pennell: interview by Alessandra Ferrini (2013), part 1 and part 2 in Mnemoscape.
• Dazed Digital interview: Miranda Pennell retrospective at the 2011 Glasgow Short Film Festival

3. Things I write

• A Change of Register (Notes on Man number 4), World Records Journal 9: Just Evidence (2025).
• Hospital Green, in ‘Found Footage & Collage Films: The Artist’s Voice‘, edited by César Ustarroz (2025)
• Space Invaders: how does the coloniser see? lecture, as part of ‘EVIL EYE: parallel histories of ballistics and optics‘ symposium at Tabakalera Centre for Contemporary Culture, San Sebastian (October 2022)
• History as science fiction, paper at ‘Levels of Life: Photography, Imaging and the Vertical Perspective’ (2022) conference at London College of Communication and Photographers’ Gallery.
• ‘A couple of years ago…’, p 331-337, essay in “Liberated Film Club” (2021) edited by Winstanley Schtinter, Tenement Press.
• “On Looking More Justly at an Image of the Past” (2019) Journal of Media Practice and Education, 1-14, Routledge 
• Visualising Spatial Injustice Q&A – Mediapolis Journal of Cities & Culture (July 2018)
• On looking more justly at an image of the past. Presentation Politics & Poetics of Documentary symposium (Sussex University, June 2017)
• Gestures of Love and Violence, performance – lecture – screening (2013 – ongoing).  Part 2 of the lecture takes up themes to do with cartoons, violence, animism and dance as resistance.
• Towards an ethics of looking (September 2016)  Photography in academic research conference at UCL, London.
• Film as an archive for colonial photographs: activating the past in the present. PhD thesis 2016
• On looking at photographs from Iran, in The Guardian’s Tehran Bureau (March 2016)
• The Expedition (March 2016) trouble in the colonial archive…
• Rules of the Game, by Miranda Pennell, chapter in Truth, Dare or Promise: Art and Documentary Revisited,  (2013), edited by Jill Daniels, Cahal McLaughlin, Gail Pearce. [Chapter on filming performance and filmmaking as performance. Buy the book Cambridge Scholars Publishing.]
• Thoughts on Now-ness and Then-ness, in Journal of Screen Dance (Spring 2010, Vol. 1)