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…
Another Gaze↑
A journal of films and feminisms
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…
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…
TIFF Review: Alex Ross Perry's 'Her Smell'
Alex Ross Perry’s latest feature, Her Smell, focuses on the career of a rock star, Becky (played by Elisabeth Moss),…
Of Broken Bones and Ecstatic Dreams: On Chloé Zhao’s 'The Rider'
When Lupita Nyong’o ascended the stage to accept her Academy Award for Best Supporting Actress in 2014, the straight-out-of-drama-school newcomer…
Expansive Territories: Remembering Kathleen Collins
Kathleen Conwell Collins Prettyman was born in Jersey City in 1942, and died in New York in 1988 at the…
TIFF Review: Margarethe von Trotta's 'Searching for Ingmar Bergman'
Searching for Ingmar Bergman opens with acclaimed German director Margarethe von Trotta in Gotland, on the rocky beach from several…
In praise of teenage self-disgust: 'The Miseducation of Cameron Post'
The road to hell may be paved with good intentions, but in The Miseducation of Cameron Post, it is those…
Carol Morley's 'Out of Blue': Refractions of "The Female Investigative Gaze"
Following the TIFF world premiere of Carol Morley’s fourth feature-length film, Out of Blue (2018), the director, seated adjacent to…
Why ‘Lady Macbeth’ is the Intersectional Feminist Film You Didn’t Know You Needed
We’re often a little too happy to classify as ‘feminist’ anything that presents lead female characters confronting gendered oppression, but…