After the Hunt
Luca Guadagnino’s After the Hunt begins with the non-diegetic sound of a ticking clock. In the context of this sleek…
Another Gaze↑
A journal of films and feminisms
Woman, Viewer, Subject, Object: The Faces of Lynn Hershman Leeson
Lynn Hershman Leeson defies categorisation. Her artworks are sketched, photocopied, filmed, sculpted, broadcast, cut and pasted. They are encased in…
Great, Motionless Ship: Patricio Guzmán’s Chile
“An intense battle has begun to do away with that great relic of the past, the latifundium.” The line is…
Who will wear a crown? On Angela Schanelec’s 'Music'
In the beginning, there is fog and there is thunder. The gods are enraged. It is a struggle to see…
Rebecca Liu on 'Barbie'
The idea that femininity is a performance that alienates the subject from herself has gained even greater ground in the…
‘Nothing but defeats’: Fassbinder beyond fragments
Before I began reading Ian Penman’s Fassbinder A Thousand Mirrors, I wondered how I might have gone about writing about…
Alternative Biographies: The Lives of Artworks in Hanka Włodarczyk’s "Ślad"
In the opening moments of Hanka Włodarczyk’s film Ślad (1976), the Polish artist Alina Szapocznikow (1926–1973) takes a hammer and…
Helen Charman on 'The Eternal Daughter'
At first, Joanna Hogg’s latest film The Eternal Daughter follows the conventions of a ghost story. On a winter’s night…
Nathalie Olah on Aftersun
A man sits slumped on the edge of the bed, turned away from the camera, his broad back curved and…
The Lesbian Allure and Colonial Unconscious of Todd Field’s Tár
Tár begins with the sounds of unseen forest, a buzz of insects and birdcalls that backs the voice of Shipibo-Conibo…
Rebecca Liu on Maria Schrader's She Said
Journalism is concerned with documents, events and facts, not psychoanalysis. There are phenomena that it describes but does not strive…
Georgie Carr on Ruben Östlund's 'Triangle of Sadness'
Ruben Östlund describes himself as a socialist, and on the surface his films exhibit a flair for zeitgeisty political engagement,…
Laura Staab on Ann Oren's 'Piaffe' (2022)
Everything in Piaffe is attractive, including the title: a single word with French etymology and an ineffably elegant double ‘f’,…
My Own Lens and Skin: An Interview with Betzy Bromberg
Betzy Bromberg was born and raised in New York and has been making experimental work since 1976. Her intimate, intense…
Twenty-Eight Portraits of Linda Manz (1961–2020)
No. 1
Inside the Dream: Infant observation during the pandemic and the screen as psychic portal
NB: this essay was written in early 2021 and was originally published in Another Gaze 05.
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