Editorial
The editors reflect on the Another Gaze project on the occasion of its relaunch.
Another Gaze↑
A journal of films and feminisms
On Emerald Fennell's “Wuthering Heights”
Proceeding from the notion that a novel cannot be filmed, Fennell strikes out boldly under the banner of defeat.
Talking Motherhood
Contemplating depictions of transgressive motherhood in If I Had Legs I'd Kick You and Die My Love.
On Tang Shu Shuen’s The Arch (1968)
Iconoclasm beats at the heart of Tang Shu Shuen’s historical melodrama.
On Robina Rose’s Nightshift (1981)
London’s countercultural scene hangs out at The Portobello Hotel.
Niki de Saint Phalle’s Longest Dream
Questing to protect children from the trauma and tedium of adults.
Two Decades in Another Decade
Looking back at the post-2010s fixation on the 1970s: is it time to move on?
Liars, Fascists, Drifters: the Cinema of Carolina Adriazola and José Luis Sepúlveda
Rejecting not only popular cinema, but tendencies of leftist cinema, two filmmakers start from an aesthetics of corruption and contradiction.
On Deborah Stratman’s Last Things (2023)
Deborah Stratman’s ‘geoaffective’ film is striated with an associative, human poetics.
A Conversation with Paula Gaitán
Reflections on a forty-year career in film, from Indigenous cinema to ‘anti-portraiture’ and the use of ‘bad’ sound.
A Conversation with Mary Helena Clark
Moving through the dream logics of the filmmaker's entrancing work.
A Conversation with Clara Law
A filmmaker who has traversed the globe and different modes of production in her four decades with cinema.
Mercedes Pinto’s ‘Divorce as a Sanitary Measure’
In context, and translated into English for the first time: an incendiary speech from Spanish intellectual Mercedes Pinto.
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…
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
On the anniversary of the Chilean coup d’état, Kaleem Hawa examines the political cinema of Patricio Guzmán, from The First Year (1972) to Chile, Obstinate Memory (1997), detailing how Salvador Allende’s socialist project is depicted and relived through documentary film.
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