Screen Slate is a guide to seeing movies in person and on the internet. We curate daily listings of arthouse/repertory cinema and gallery shows happening IRL and online, and we publish original essays, cultural criticism, features, and interviews. We also program our own screenings, including an artist-focused live online series, a virtual cinema, and in-person events.
Since 2011, we’ve helped people in NYC figure out what to see by publishing the only central listings resource for independent, repertory, and microcinemas and art spaces, picking up where a formerly robust network of alt-weekly newspapers and email listservs trailed off.
With brick-and-mortar venues closed, we currently help our readers keep track of live broadcast events and limited streaming engagements: screenings, artist talks, virtual film festivals, micro-streaming services, online media exhibitions, and more. Our editorial program also spotlights artistically significant, radical, under-the-radar, and/or weird feature films on SVOD platforms and beyond.
Over the span of a decade, we’ve published thousands of pieces of critically engaged writing by hundreds of contributors, many of whom are also involved in other behind-the-scenes capacities. Our coverage is driven intellectual curiosity and a strong curatorial perspective. In addition to featured picks, we also run interviews, essays, and more, taking an adventurously broad approach to screen culture's history and future.
We apply this same sensibility to our own programming, which includes Stream Slate, a free online series featuring live discussions with filmmakers, artists, curators, and archivists; our own Virtual Cinema, including new releases and revivals; and events/series, which often place narrative/genre cinema and experimental film and media art in dialog. Collectively, the Screen Slate brain trust has programmed at venues including Spectacle, Anthology Film Archives, BAM, Film at Lincoln Center, Metrograph, and the Museum of Arts and Design.
Screen Slate is maintained by a New York charitable corporation that is tax-exempt under section 501(c)(3) of the Internal Revenue Code.
“When I die I want to go to Screen Slate. But, like Susan Hayward, I want to live… and still get Screen Slate delivered every morning, which, amazingly, I do. It’s not only stone informative, but consoling and inspiring, and makes you think there’s hope for New York.” –Richard Hell
Screen Slate is a small group of people dedicated to promoting a thriving film culture rooted in local communities. It's no one's full-time job — just something that seems cool to do.
Yes, we’re especially interested in people who are able to help with the maintenance of our streaming listings. Please email email@example.com.
If you’re interested in lending a hand in a way that may qualify for school credit, we can work with you to do so. Focuses can include editorial, listings, and programming. Please email firstname.lastname@example.org.
Yes. We work with writers who have thoughtful, incisive, and unique perspectives. We’re more interested in checking out your previous work and getting a sense of you as a writer than we are in receiving full-fledged pitches — in other words, please say hello, what you’d like to do in a few words, and include some links. We especially encourage writers who do not represent dominant cultural points-of-view to get in touch. Please email email@example.com.
Please note that due to our limited editorial capacity we cannot always respond promptly.
Our unique area of interest while cinemas are closed is to fulfill the need for coverage of virtual events or series: a limited online series of rare political films, virtual film festivals, an artist screening and Q&A, and so on. These pitches are very welcome.
Our primary editorial component consists of our daily featured screening essays, which are 400-word write-ups on titles available to stream in the U.S., primarily those on VOD services. It’s difficult to define exactly what we feature, but generally: arthouse, repertory/restoration titles, radical film, genre cinema, pornography, experimental film, media art, and more. Throughout our history we have placed an emphasis on historically under-represented filmmakers, genres, modes of expression, and filmmakers.
We also run longer essays and interviews on topics related to film, art, and online media, broadly defined. We’ve covered memes, YouTube phenomenon, video games, alternative comics, and more — anything that can be tied to a spirit of inquiry related in some way to moving image culture.
We very rarely cover mainstream new streaming offerings such as Netflix originals, television shows, celebrity podcasts, etc. We also more-or-less avoid participating in the hype cycle surrounding buzzy new indie movies.
We're able to provide a small honorarium for contributions thanks to our Patreon supporters.
We encourage people to read below before submitting. Then,
- Submit virtual listings here
- (Submission for in-person listings currently inactive)
If you are intending to submit regular and/or a high volume of listings, please email firstname.lastname@example.org to get set up with a special account. (If you just have one or two things, please use the forms, which send to this same address.)
We do not plan to resume NYC in-person listings until repertory cinemas reopen in numbers, likely in April.
Screen Slate lists screenings, limited runs, exhibitions, events, and discussions related to film, video, and electronic media. The brick-and-mortar venues we list are inclusive of movie theaters, museums, cultural centers, galleries, DIY venues, lofts, and more.
We generally do not list events outside the five boroughs; film-related trivia/game nights; student film showcases; screenings promoting special interest groups/NGOs; rental/four-wall screenings; pay-to-submit festivals; comedy shows; screenings at luxury hotels, condos, social clubs, or real estate development projects without a regular film program; or screenings at places that are primarily bars or restaurants.
Our virtual listings comprise two types:
- Live events ("Screening + Q&A at 8PM")
- Limited time events ("Available to stream for the next week")
Within this scope, we include feature films, panel discussions, online exhibitions, virtual film festivals, and more.
- General virtual arthouse releases - We curate a small selection of new releases on our homepage. Although we do not break new releases out into our listings on a theater-by-theater basis, but we occasionally make exceptions for unique engagements.
- Titles on SVOD services - Our editorial regularly spotlights deep cuts from services like Netflix, Prime, Criterion, Kanopy, Mubi, OVID, etc. However, we do not break them out into our listings.
- Collections available to stream indefinitely - Likewise, we are happy to give editorial consideration to things are available to stream indefinitely — for instance, a library that has placed special collections permanently online, an artist who has added their work to YouTube, etc. But we do not post them in our listings. If you represent a special or "hidden online" collection like this, feel to let our editors know about it: email@example.com.
- See the IRL listings for other guidelines we use
We believe in the importance of piracy in the history of access, discovery, enthusiasm, and even safeguarding of film and media. However, we generally err on the side of not including evidently uncleared screenings or streams in our listings. On one hand, we want to encourage sustainable practices for the curation, distribution, and preservation of work, particularly as relates to supporting artists and archives representing work of marginalized status. On the other, we want to avoid inadvertently blowing the whistle on people who are working in earnest to build enthusiasm around speakeasy screenings, lowkey file sharing, and so on. We’re happy to consider exceptions for things like orphaned works, psychotronic deep cuts, special contexts, etc., as we can on a case-by-base basis. Just send an email to firstname.lastname@example.org and we’ll do our best to accommodate.
Our cinema is programmed by Nellie Killian, who operates independently of the editorial team.
We do a 50/50 split with distributors after platform and payment processing fees are deducted.
Most of our streaming is done through Eventive, a platform used by many venues' virtual cinemas. It offers the following:
- Casting via Chromecast or AirPlay
- Apps for Roku and Apple TV
- iPhone/iPad (via Safari)
- Watching directly in the browser
- HDMI cable to hook computer to TV
For more detailed instructions, please see Eventive's Audience FAQ. For questions or technical issues, we recommend contacting Eventive support.