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David Jenkins

David Jenkins

David Jenkins started contributing to Little White Lies magazine in 2005 when it was produced in a bedroom and with recourse to various credit cards. His first printed review was of Woody Allen’s Melinda and Melinda. He became a staff writer on the film section of Time Out London where he first started attending festivals, covering new release titles and was able to hone his critical perspective and prose style, such as it is.

In 2012 he moved back to Little White Lies where he worked for two years as reviews editor, and in 2014 he was promoted to editor where he has overseen, to date, 17 print issues. Cover stars have included Joaquin Phoenix (for Inherent Vice), Rooney Mara (for Carol) and Mia Hansen-Løve (for Eden and a special edition on female filmmakers).

In 2015 he edited a compendium of film directors and stars answering the question, “What do you love about movies?” called, What I Love About Movies, and released through Faber & Faber. He has written Blu-ray liner notes for films such as Robert Altman’s 3 Women, John Ford’s My Darling Clementine and Richard Linklater’s Waking Life, and is a regular panelist at film events and screenings in London.

His favourite film is Jacques Tati’s Playtime.

City I call home: London, England

Twitter handle: @daveyjenkins


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Type of cinema I am most passionate about:

I'm most passionate about being surprised by a film for which I have zero expectation. All genres, styles, forms have worth. My favourite film of all time is Jacques Tati's Playtime.

A film that changed me/my mind is:

Les Amants du Pont Neuf by Leos Carax because it was the first film I saw with subtitles. It made me realise that the door to the entire foreign language cinema had just swung open in front of me.

Cinema excites me because:

It can stir up dormant emotions. For me, it's first and foremost an emotional medium.

My career highlight was:

When I drove to Lille, France for a day trip to see Terence Malick's The Tree of Life (because it hadn't opened in London yet).

The future of film criticism:

Is tough to fully determine as it's still in a state of flux between print and digital. I'm not sure film criticism in its traditional form exists any more – there are many small pockets of different disciplines across an array of platforms and outlets. 

Film criticism is important because:

It's an art form in an of itself. And the best film criticism tells you as much about the critic as it does about the movie.

The MIFF film I’m most looking forward to:

Kelly Reichardt's Certain Women.