Finding Your Rage: On Club des Femmes’ ‘Revolt, She Said’ Programme
In 2018, feminism is everywhere and nowhere at once. Women, we are told, can now be CEOs, and entrepreneurs and…
Two people in a house: Catherine Corsini’s ‘An Impossible Love’ (‘Un amour impossible’)
The poster for An Impossible Love shows a man with his back turned, eyes averted, hands in pockets. He’s facing…
Portrait of Penny Lane
We Skyped with Penny Lane, an American filmmaker whose award-winning documentaries are predominantly archival, often containing no original footage at…
Notes on Alfonso Cuarón’s ‘Roma’
The first plane in Alfonso Cuarón’s Roma sails across a snatch of sky mirrored in soapy water; the next, in…
‘Intra-active’ desire in Joachim Trier’s ‘Thelma’
There’s something within you. If you truly desire something with your mind and body, there’s something within you that can…
Wandering across Frames: Moyra Davey and the Feminist Essay Film
In ‘Walking with Nandita’, an essay for documenta 14 composed of photographs and fragments of text, Canadian artist Moyra Davey…
On ‘Killing Eve’
Is it possible to tell when a television programme has been masterminded by a woman? And if so, what is…
Call For Submissions – Another Gaze 03
Feminist film journal Another Gaze is seeking submissions for its third print issue, to be released this May. Another Gaze…
Of Marceline Loridan-Ivens
In 2003 I saw a film that absolutely knocked me out with its incomparable visual beauty, its exploration of traumatic…
Super-ego, super-charged: Luca Guadagnino’s ‘Suspiria’
While Luca Guadagnino’s Call Me by Your Name (2017) received general acclaim last year, one particular critique cut through the…
“I have always wanted it”: Sebastián Lelio’s ‘Disobedience’
Disobedience, Sebastian Lelio’s adaptation of Naomi Alderman’s novel of the same name, follows the story of Ronit, a lapsed Orthodox…
Learning to Care: Adina Pintilie’s ‘Touch Me Not’
To be intimate and vulnerable with another involves being honest with oneself, or so the saying goes. This task is…
No Year of Rest and Relaxation: On Emily Atef’s ‘Three Days in Quiberon’
Near the end of Emily Atef’s Three Days in Quiberon (2018), a cinematic snapshot of the life of Romy Schneider,…
The Act of Taking: Lee Chang-dong’s ‘Burning’
If a sign is a premonition, it points to a future; if it’s a clue, a past. But sometimes a…
Bare life, corrupt elites and surviving in today’s America: On Steve McQueen’s ‘Widows’
While the United States Senate was debating the confirmation of Brett Kavanaugh in Washington DC, the trial of a century…
Navigating the liquid cinema of Argentina’s ‘Las Calles’ by María Aparicio and ‘El Futuro Perfecto’ by Nele Wohlatz
When film critic Roger Alan Koza asked María Aparicio, a young filmmaker from Córdoba, Argentina, about the experience of shooting…
In Conversation With Carolee Schneemann
Carolee Schneemann is an American visual artist, known for her discourses on the body, sexuality and gender. In the ’60s…
On ‘Crazy Rich Asians’, crazy rich Asia, and capitalism in the time of postcolonial love
A truth universally acknowledged in East Asia is that a wealthy married woman with ample free time is in want…
Have you Earned this Parody? On ‘Assassination Nation’
Begin to wonder what you do write about. Or if you have anything to say. Or if there even…
Ordinary Devotion: The Seduction of Normalcy in Chantal Akerman’s ‘No Home Movie’
Chantal Akerman’s final film, No Home Movie, opens with an image of a tree in the Israeli desert, being buffeted…
Naomi Kawase’s ‘Vision’: Poetic Worlds and Vegetal Camerawork
Naomi Kawase’s Vision takes place in a rural zone of the Nara Prefecture. This is the region in Japan where…