Rebecca Liu on Maggie Gyllenhaal’s ‘The Lost Daughter’
I have become used to films about Mediterranean summers filled with sweeping wide shots of golden beaches, sand and greenery,…
Georgie Carr on Pablo Larraín’s ‘Spencer’
When Diana was killed in a car crash in August 1997, my dad drove our family to the beach in Eastbourne….
Rebecca Liu on Jane Campion’s ‘The Power of the Dog’
Ten minutes into Jane Campion’s The Power of the Dog, an aloof ranch owner sits at the end of a…
In Search of Lost Time: Theresa Hak Kyung Cha’s Cinematic Imagination
This essay appears in Another Gaze 05 which you can preorder here. A rare image of the Korean-American artist Theresa…
Pass This On: Prano Bailey-Bond’s ‘Censor’ (2021)
The lingering profundities of horror are rarely to be found in a film’s straightforward symbolism but instead in the figurative…
For Magdalena Montezuma
The women in Werner Schroeter’s exuberant films come into sharp focus via two scenes from Der Bomberpilot (The Bomber Pilot,…
To Describe the World: A Conversation with Courtney Stephens about ‘Terra Femme’
Courtney Stephens’s performance lecture Terra Femme ranges from the North Pole to the South Seas, and over everywhere in between….
On Emma Seligman’s ‘Shiva Baby’
Emma Seligman’s Shiva Baby is a confused and hectic debut that follows a young woman, Danielle (Rachel Sennott), who is…
“Yes, girls, we love your corpses”: Emerald Fennell’s ‘Promising Young Woman’
Emerald Fennell’s Promising Young Woman opens to the dreamy electronic notes of Charli XCX’s ‘Boys’, the London singer’s 2017 light-hearted…
Sarah Maldoror (1928–2020), as remembered by her two daughters
These introductions were originally read as part of the roundtable ‘The Legacies of Sarah Maldoror 1928–2020′ (12 May 2020), which…
Jessa Crispin on Dasha Nekrasova’s ‘The Scary of Sixty-First’ (2021)
From the first moments of The Scary of Sixty-First, I was thinking about Sofia Coppola. Not the films she directed,…
Passion Imperfect: On Danielle Arbid’s Simple Passion
Midway through Simple Passion (2020) the protagonist, Hélène, played with studied poise by Laetitia Dosch, announces to her lover, “I…
Layers of Reality: Zheng Lu Xinyuan’s ‘The Cloud in her Room’
“Dreamlike”, “transitory”, “driftily disjointed” – reviewers have used these terms fittingly to describe Zheng Lu Xinyuan’s debut feature, The Cloud…
How Do You Solve a Problem like Duszejko?: On Olga Tokarczuk’s ‘Drive Your Plow Over the Bones of the Dead’ and Agnieszka Holland’s ‘Spoor’
For Janina Duszejko, the Polish protagonist of Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead (Prowadź swój…
Rehearsed Realities: Cecilia Mangini’s Documentary Fictions of Rural South Italy
In a post-war Italy ravaged by two decades of fascism, reckoning with the ruins of its urban landscape, young photographer…
Desirous Dreams: The feminist erotics of Rebecca Horn’s ‘Berlin Exercises in Nine Parts’ (1974–75)
For a period of 12 months during 1968 and 1969, Rebecca Horn was isolated in hospital with lung poisoning contracted…
Imagined Adaptations
Elaine May adapts Elaine Dundy’s ‘The Dud Avocado’ Born in 1921, Elaine Dundy was a Manhattanite whose pithy flare inked…
Sense-Making From The Ground Up: The Films of Beatriz Santiago Muñoz
From the 10th to the 23rd of July 2019, Puerto Rico, a Caribbean archipelago that has been subjected to U.S….
An Unwavering Self-Regard: Sofia Coppola’s ‘On The Rocks’ (2020)
“That’s the way I work: I try to imagine what I would like to see,” said Sofia Coppola in an…
What Is Democracy?: A Conversation With Astra Taylor
This interview was first published in Another Gaze 03 Astra Taylor is a Canadian-American activist, writer, musician, and documentary filmmaker. Her…
Seeing, and Seeing Through, Art History: The Resurrection of Hilma af Klint in ‘Beyond the Visible’ (Halina Dyrschka, 2019)
Sometime last year, I tweeted: “are Hilma af Klint selfies the new [Yayoi Kusama] infinity mirror selfies?” Selfies taken in…