Between the Ingénue and the Heroine: on Sandrine Bonnaire’s 'Marianne Faithfull: Fleur d’Âme'
Sandrine Bonnaire possesses a face which, in its planar, geometric architecture, seems designed to be in front of the camera,…
Another Gaze↑
A journal of films and feminisms
Little More Than A Temper Tantrum: On Ruben Östlund's 'The Square
The Square opens on an interview between art curator Christian (Claes Bang) and journalist Anne (Elisabeth Moss). She starts gently…
A Shamefully Cack-Handed Depiction of Violence Against Women and Ethnic Minorities: On 'Three Billboards Outside Ebbing, Missouri'
TW: Rape, racial violence, police brutality
Beauty is truth: on Alain Gomis’s 'Félicité'
Félicité is a singer at a local bar in Kinshasa, the busy and vibrant capital of the Democratic Republic of…
How can we ever make a movie about nymphets?
Stanley Kubrick’s 1962 film Lolita is in black and white, but we all know the colour of Lolita’s lollipop. It…
The Extraordinary and the Ordinary: Teresa Griffiths's 'Leonora Carrington: The Lost Surrealist'
Leonora Carrington’s best known story features a bored debutante who persuades a hyena to replace her at a ball. Disguised…
The Discomfort of Recognition: Andrea Luka Zimmerman’s 'Erase and Forget' (2017)
“How do we see each other, rather than mak[e] someone other?” With this question, filmmaker Andrea Luka Zimmerman gestures toward…
Cecelia Condit’s Body of Becoming: Women and the Dark Forest of Dreams
“…because the unconscious, that other limitless country, is the place where the repressed manage to survive: women, or as Hoffmann…
Jeanne Moreau and Marguerite Duras: on Film, Love, and Female Friendship
Cet amour-là (Josée Dayan, 2001) was not especially well received on either the festival circuit or commercially, but there is…
Mischief in the Magic Castle: On Sean Baker’s 'The Florida Project'
It is said that well-behaved women seldom make history. In Sean Baker’s The Florida Project, the badly behaved ones make…
Review: 'Princess Cyd'
There is a particular way that teenage girls are imagined in cinema: situated in seemingly endless summers, they waft about…
Touch And Its Hesitations in Ildikó Enyedi’s 'On Body and Soul'
Ildikó Enyedi’s On Body and Soul (2017) is an exercise in counterpoint. From its opening sequences, the film unravels a…
Review: 'Beach Rats'
In her first feature,It Felt Like Love (2013), Eliza Hittman explored a young Brooklyn girl’s troubled life as she attempts…
Review: 'On The Beach At Night Alone'
Hong Sangsoo’s On the Beach At Night Alone is in fact two films. Shot by different cinematographers (Kim Hyung-koo and…
Review: 'Redoubtable'
In her memoir Un an après, the purported basis for Michel Hazanavicius’s Redoubtable, the late Anne Wiazemsky recalls her astonishment,…
A Calling of the Ancestors? Jill Soloway's 'I Love Dick'
“Unfortunately, most films by women aren’t that good.” This declaration, made just two thirds of the way through the first…