We Need to Talk About Violence in Lynne Ramsay’s 'You Were Never Really Here'
In You Were Never Really Here (2017) – Lynne Ramsay’s first feature film since 2011 – Joe (Joaquin Phoenix) is…
Another Gaze↑
A journal of films and feminisms
From Object to Subject? Léonor Serraille's 'Jeune Femme' and Agnès Varda's 'Vagabond'
The ‘free’ woman walking the city has become something of a popular myth, particularly in recent works of biblio-memoir, or…
Filming too Close: Naomi Kawase and the Caring Filmic Gesture
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Madonna, Whore, 'Alanis'
In the poster for Anahì Berneri’s Alanis (2017), the eponymous female protagonist (played by Sofia Gala) sits on a chair…
“I wanted to make a film that makes you feel like you’re in the middle of the storm”: An interview with 'Shakedown' director Leilah Weinraub
People warned me that my first Berlinale would be surreal, but nobody prepared me for the experience of sitting down…
From out of the Margins: BAM's 'A Different Picture: Women Filmmakers in the New Hollywood Era' Series
Claudia Weill’s Girlfriends (1978) feels at once strikingly fresh and familiar, which is perhaps the secret of its enduring popularity…
'Ocean’s 8', Anna Delvey, and our love for the woman who wants to own the world
Debbie Ocean has been in prison for five years, eight months, and 12 days. Her brother Danny is dead. Probably.…
Men will never save you: On Coralie Fargeat’s 'Revenge'
At the start of Coralie Fargeat’s debut film Revenge, Jen, the protagonist, could be an image plucked from a feminist’s…
Crazy In Love: Transgressive Femininities in Anna Biller’s 'The Love Witch'
Anna Biller’s The Love Witch (2016) opens with the image of a solitary vintage car driving down an isolated California…
On Valeska Grisebach's 'Western' and its borderlessness
Valeska Grisebach describes her latest feature, Western (2017), as a “dance with the genre”. Here the cinematic evocations of the…
From Star To Director: A Look at Kinuyo Tanaka’s Directorial Debut
Among Western fans of Japanese cinema, Kinuyo Tanaka is easily recognisable as one of the great actors of the mid-20th…
Call for submissions: 'Another Gaze' Issue 02
Another Gaze is seeking submissions for its second print issue, to be released this autumn. We are an open-access journal,…
Lean on Pete, the anti-Odyssean epic
Andrew Haigh’s Lean on Pete takes the Yorkshire-born filmmaker to the luxuriant plains of America’s Pacific Northwest, where a fifteen-year-old…
Jaume’s World: The Patriarchal Imaginary of Jaime Rosales’s 'Petra'
Note: Review contains a few of many spoilable plot points.
"Learn to love your claustrophobia": Jason Reitman's 'Tully'
Watching either of the two trailers for Tully, the third collaboration between Diablo Cody and Jason Reitman, you’d be forgiven…
Cannes Review: Agnieszka Smoczynska’s ‘Fugue’ (‘Fuga’)
There’s a scene in Agnieszka Smoczynska’s second feature film, Fugue, where the husband of amnesiac protagonist, Alicja (screenwriter Gabriela Muskała),…