‘Unpacking the Pixel – Palestine in Desktop Films’ by Najrin Islam, in Outlooks, Issue 1, 2026, published by Talking Shorts. (On Razan Al Salah’s Your Father Was Born 100 Years Ago and So was the Nakba, Oraib Toukan’s When Things Occur and Miranda Pennell’s Man number 4)
‘Crip Access, Media Literacy and the Work of Ideology‘, article by Jordan Lord, in Cinéma & Cie, Vol. 26 No. 46 (2026): Reimagining Access: Crip Media Aesthetics and Infrastructures. (Includes a discussion of ‘Man number 4’)
‘The Curse of Images’, Miranda Pennell- H is for History, N is for Now review by Liz Vahia, in ArteCapital, August 2026
‘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.
‘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.
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
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.
‘Living with Contradictions: on whiteness, post colonial art and belonging’, Nina Mangalanayagam in Parse Journal, Issue 11, Summer 2020.
‘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)
‘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 inSight & 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
‘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)
