Oubliette
Instructions for reading: Play the song ‘Art Decade’ by David Bowie on repeat while reading this text. Read the text…
Charlie Kaufman’s ‘I’m Thinking of Ending Things’ begs for forgiveness yet again
What might Charlie Kaufman have left to say about himself after writing about himself and his screenwriter ego personified as…
Broad Horizons and Shallow Vistas in Chloé Zhao’s ‘Nomadland’ —TIFF 2020
As I write this, the reviews for Chloé Zhao’s Nomadland, which premiered earlier this week at the Toronto International Film…
Cao Fei’s ‘Blueprints’ finds freedom in fantasy
Cao Fei’s ‘Blueprints’ begins in a room decorated to look like a mid-20th century foyer in China: the kind you…
Despite its Name, Maya Da-Rin’s ‘A Febre’ (‘The Fever’) Wards Off Pathologising
In Maya Da-Rin’s first narrative feature film, A Febre (The Fever), Justino sits with his grandson Josué in the kitchen…
Against Inheritance: Stanya Kahn’s ‘No Go Backs’
Stanya Kahn’s latest short film ‘No Go Backs’ (2020) opens with two teenage boys pissing into the grassy scrub with…
There is the sound, too, of a ticking clock: A Time-based Reading of Anne Charlotte Robertson’s ‘Five Year Diary’
In 1981, in Boston, Massachusetts, Anne Charlotte Robertson bought five rolls of Super 8 film with which to record her…
Describing the World Otherwise: Anne Charlotte Robertson’s ‘Five Year Diary’
Anne Charlotte Robertson started keeping a diary when she was 11 and never stopped. By the time the artist died…
Pretty Little Cults
“I see what you mean about the pageantry,” remarks Dani (Florence Pugh) in Ari Aster’s Midsommar (2019) as she scrolls…
Towards a Quilombo Cinema: An Afro-Brazilian Feminist Roundtable
A conversation between Everlane Moraes, Janaína Oliveira, Kênia Freitas, and Tatiana Carvalho Costa. Translated by Lillian Maguire and Natalia Davies….
The Luxury of Savouring in Kelly Reichardt’s ‘First Cow’
One of the pleasures of Kelly Reichardt’s narrative films is that their plots (where they exist) never feel artificial: the…
A Language of Traces: The short films of Mati Diop
“My characters rarely find themselves where they want to be in the world: there is always somewhere to escape from,…
Another Gaze x Fitzcarraldo: Moyra Davey’s ‘Index Cards’ Launch + Screening
“Another problem for me now is the welling up of the “Wet,” the insistent preoccupation with narrating certain aspects of…
Dreamscapes and Ethnospheres: Ben Rivers and Anocha Suwichakornpong’s ‘KRABI, 2562’ (2019)
Describing the motivation behind his feature The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not…
Strike on Film: Madeline Anderson’s ‘I Am Somebody’ (1970)
This essay was originally published in Another Gaze 04 (March 2020) i. Your colleagues probably won’t want to strike until,…
Call for Pitches | Another Gaze 05: The Old World May Be Dead
Another Gaze is seeking submissions for its fifth print issue, to be published this autumn. Due to the pandemic we…
Mr Zuckerberg, Tear Down My Wall
A common narrative about social media goes like this: something something anxiety and deep insecurity; it’s hard to see an…
Locating the Lesbian Hand in Barbara Hammer’s Early Works
Barbara Hammer’s ‘Double Strength’ (1976) opens with a sequence of sepia photographs featuring Hammer and her then-partner, Terry Sendgraff, a…
Another Gaze presents: The Legacies of Sarah Maldoror (1929–2020) —12 May 2020
Sign up to the eventbrite for updates and Zoom link here. On 13 April, the political activist, theatre maker and…
Those Who Keep and Those Who Throw Away: On Hoarding in ‘Grey Gardens’, ‘The Gleaners and I’ and ‘Tidying Up With Marie Kondo’
“That’s all I need: an ordered life” —Edith ‘Little Edie’ Bouvier Beale, Grey Gardens Early last year, I experienced my…
Towards a Diffractive Cinema: The Video Works of Amanda Melissa Baggs (1980–2020)
Amanda Melissa Baggs, also known as Mel Baggs, died on 11 April 2020. This essay was originally published in print…