Portrait of Ildikó Enyedi
[embed]https://www.youtube.com/watch?v=EMM-jTvGRcE[/embed]
Another Gaze↑
A journal of films and feminisms
In Praise of Mia Hansen-Løve's 'Things to Come'
Does the future look something like the sea? The opening scene of Mia Hansen-Løve’s Things to Come (its French title…
BERLINALE - A remedy against the solitude of war: On Lola Arias’s ‘Theatre of War’ ('Teatro de guerra')
Malvinas una representación inconclusa (Malvinas: An Inconclusive Representation), an essay written by Lara Segade for the Argentine film magazine Kilómetro…
Berlinale – Yoko Yamanaka's 'Amiko'
I’ve never been sure what lemons are supposed to symbolise and the internet is no help. Are they meant to…
Berlinale – Nana Ekvtimishvili and Simon Groß's 'My Happy Family'
A 52-year-old woman decides to move out of her family home and take an apartment alone. She has no apparent…
The Second Coming: Why Women Filmmakers Struggle To Get Their Second Features Made
The main point of contention in the much-deliberated issue of gender representation across the cinema isn’t the existence of the…
BERLINALE – Bojina Panayotova's 'I See Red People' (Je Vois Rouge)
Early on in I See Red People, Bojina Panayotova, the director and protagonist of the documentary, calls her mother, Mirena,…
BERLINALE – Marysia Nikitiuk's 'When the Trees Fall' ('Koly Padayut Dereva')
Ukrainian first-time feature director Marysa Nikitiuk’s When the Trees Fall is a fairytale of gasping, screaming excess, where narrative is…
BERLINALE – The Debt of a Mother’s Love: On Yang Mingming's 'Girls Always Happy'
To be a woman is to be in a world that understands you as other; the mere act of being…
Of River Gods and Women: Guillermo Del Toro's 'The Shape of Water'
In 1960, a state-of-the-art beachfront laboratory nestled in the Caribbean island of St Thomas began training dolphins to understand the…
On the Double Nature of Filmed Mice
I'm watching Marketa Lazarova with a friend and we’re halfway through a scene that I consider to be one of…
A Backwards Trajectory through Camille Henrot’s 'Days are Dogs'
A pulsing flower, a botox injection, a watery baptism: through this collection of images, Camille Henrot’s Saturday (2017) explores the…
On Andrey Zvyagintsev's 'Loveless' and the casual cruelty of modern love
If hell hath no fury like a woman scorned, the women of Loveless make clear how, for scorned women, the…
Another Gaze 01 is now available to order
We're very pleased to announce that our first issue is now available to order here
Power, performance and personhood: On 'Phantom Thread'
Contains spoilers:
A Hard, Uncomfortable and Poetic Film About the Survival of People: On 'Mudbound'
In his novel, Requiem for a Nun, William Faulkner writes: “The past is never dead. It’s not even past.” Born…