Cinema, Carcerality and Covid-19: On Watching Brett Story’s ‘The Prison In Twelve Landscapes’ (2016)
How do you represent the prison system cinematically? A certain syntax of images springs to mind: a concrete wall, coils…
As a Woman in America, Always: Eliza Hittman’s ‘Never Rarely Sometimes Always’
Autumn, the 17-year-old protagonist of Eliza Hittman’s sophomore film Never Rarely Sometimes Always (2020), first stands out because of her…
The Talking Cinema of Barbara Hammer (1939 – 2019)
“I’ve never shown ten of my films in chronological order before. I’m going to be sitting there with you and…
‘Olivia’ by Olivia
Midway through Olivia, headmistress Mlle Julie (Edwige Feuillère), going to bed, notices light under the door of one of her…
A Hellish Commons: Bong Joon-ho’s ‘Parasite’
Bong Joon-ho’s Parasite (2019) is an upstairs-downstairs tale of contemporary class inequalities, as a poor and a rich family become…
‘Still Moving’: Ulrike Ottinger’s Shifting Archive of Identity
An experimental documentary that unpacks a personal archive without exposition, narration, or dialogue, Ulrike Ottinger’s Still Moving (2009) relies instead…
Call For Submissions – Another Gaze: The Japan Issue アナザーゲイズ:日本特集
In November 2019, Another Gaze travelled to Japan to interview sixteen women filmmakers. For our fifth issue, we are seeking…
Elizabeth Banks’s ‘Charlie’s Angels’ and the death of early millennial camp
When I heard that Sony was going to be rebooting Charlie’s Angels in 2015, my heart – to cite Ariana…
“Not my country, not my home, nobody in the whole world”: The Life and Cinema of Lorenza Mazzetti (1928 – 2020)
When she arrived at the British border off the ferry from France in 1951, Lorenza Mazzetti’s Italian passport was stamped…
‘Little Women’, Little Change
If the radical potential of adaptation lies in its ability to harness the energy of an established text for new…
Red, White, Yellow, Black: A Multiracial Feminist Video Collective, 1972-73
On two nights – one in December 1972, the other April 1973 – the multiracial, multimedia feminist art collective Red,…
(“Gay Panic”): On Fan Subtitles
My love for fan-made subtitles started with the Norwegian TV series Skam (2015-2017). Skam is a drama aimed at teenage…
Women on the Edge: History, Temporality, Sisterhood and Political Militancy in Marge Piercy’s ‘Vida’ and Margarethe von Trotta’s ‘Die bleierne Zeit’
(Crawling titles rise from bottom of frame, white-on-black:) In May, 1972, bombs exploded […] In all, thirty-six people were injured…
Against Lists
Lists of films will not save you. Lists of films will not save films. Lists of films will not reorganise…
The Great Digestive Machine: Inside the Choreography of Loie Fuller and the Underwater Cinema of Geneviève Hamon and Jean Painlevé
If the afterlife exists, I’ve always imagined that I’d like mine to be underwater. I’d be reborn as something with…
Hito Steyerl’s Grey Zone
It’s said that Theodor Adorno asked to have the walls of his lecture hall painted a certain shade of grey….
A Woman Escaped? The Female Automaton in Robert Bresson’s ‘Mouchette’
The first android was a woman. In Auguste Villiers de L’Isle-Adam’s novel L’Ève Future (1886), a fictionalised Thomas Edison attempts…
The Impossible Profession: On Justine Triet’s ‘Sibyl’
In Promises, Promises, Adam Phillips writes, “When people need a new question to ask of themselves, then it may be…
Portrait of Iris Elezi
Iris Elezi is an Albanian director, author and producer. In 2014, she co-directed ‘Bota’, aiming to “open up a window…
The 57th New York Film Festival: Looking Towards Convergences in a Cluster of Films
Having just seen Alla Kovgan’s documentary about the monolithic figurehead of modern dance, Merce Cunningham, it is now my job…
Crisis-women: Prostitution and Capitalist Modernity in Lina Wertmüller’s ‘Love and Anarchy’
“That pig must die!” declares Salomè, with tears in her eyes. The pig? Mussolini. Salomè? An anarchist prostitute embroiled in…