A work in constant progress (and occasional regress).
Nona Khodai, ACE, is a Los Angeles–based editor. Born and raised in Southern California, growing up in Orange County, she pursued film studies in Los Angeles before embarking on her professional journey during her final semester of undergraduate film school. A winter holiday assistant editing role evolved into nearly two years of steady work, during which she garnered enough union days to further her career via union film positions, propelling her into consistent editing work across television. Khodai has developed a notable editorial collaboration with Marvel Studios. She earned double Emmy nominations in 2021 in the category of Outstanding Single-Camera Picture Editing for a Limited or Anthology Series or Movie for her contributions to WandaVision—one as lead editor on the episode “On a Very Special Episode…” and another as additional editor on the series finale. Her work on WandaVision was widely praised for seamlessly melding traditional sitcom pacing and formats with high-concept MCU action and visual style, with Khodai describing the challenge of balancing multi-genre transitions as “fun and challenging.” She was again nominated in 2023 for Outstanding Picture Editing for a Limited or Anthology Series or Movie for her work on Ms. Marvel, sharing the nomination with Sabrina Plisco. Beyond her Emmy-recognised projects, Khodai’s editing credits span major television dramas, including The Boys (Prime Video), Revolution (NBC), Colony (USA Network), The Strain (FX), and Amazing Stories (Apple TV). She is well-versed in technical editorial tools, particularly using Boris FX’s Continuum and Sapphire plugins within an Avid Media Composer workflow—a combination she credits with enabling creative experimentation through effects like motion blur, shake, film damage, and glitch, which help define stylistic beats and transitions during production. In interviews, Khodai has talked about the importance of rhythm, pacing, and emotional beats in storytelling. She has noted that stepping outside her comfort zone—especially when blending genres and styles—offers both creative growth and editorial innovation. She credits her dog walks, coffee, and occasional naps as vital tools for maintaining balance and clarity during intense creative work.
Additional Editor:
2018 Lobster Tits
Assistant Editor:
2005 Out of the Woods
2006 Our House
2006 What I Did for Love
2008 Rambo
2011 Super 8
2018 Lobster Tits
Editor:
2005 Out of the Woods
2006 Our House
2006 What I Did for Love
2008 Rambo
2011 Super 8
2018 Chiefs
2018 Lobster Tits
2019 Thirsty
2020 Little Con Lili
2025 The Fantastic 4: First Steps
First Assistant Editor:
2005 Out of the Woods
2006 Our House
2006 What I Did for Love
2008 Rambo
2010 The Expendables
2011 Super 8
2018 Chiefs
2018 Lobster Tits
2019 Thirsty
2020 Little Con Lili
2025 The Fantastic 4: First Steps
Post Production Supervisor:
2005 Out of the Woods
2006 Hidden Places
2006 Our House
2006 What I Did for Love
2008 Rambo
2010 The Expendables
2011 Super 8
2018 Chiefs
2018 Lobster Tits
2019 Thirsty
2020 Little Con Lili
2025 The Fantastic 4: First Steps
Sound Editor:
2005 Out of the Woods
2006 Grandma's Boy
2006 Hidden Places
2006 Our House
2006 What I Did for Love
2008 Rambo
2010 The Expendables
2011 Super 8
2018 Chiefs
2018 Lobster Tits
2019 Thirsty
2020 Little Con Lili
2025 The Fantastic 4: First Steps
Additional Editor:
2021 WandaVision
Assistant Editor:
2012 Revolution
2021 WandaVision
Editor:
2012 Revolution
2014 Constantine
2014 The Mysteries of Laura
2014 The Night Shift
2014 The Strain
2016 Colony
2019 The Boys
2020 Amazing Stories
2021 WandaVision
2022 Ms. Marvel
2023 Monarch: Legacy of Monsters
2024 Apples Never Fall
2025 Duster
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.