Liars, Fascists, Drifters: the Cinema of Carolina Adriazola and José Luis Sepúlveda
Rejecting not only popular cinema, but tendencies of leftist cinema, two filmmakers start from an aesthetics of corruption and contradiction.
Another Gaze↑
A journal of films and feminisms
On Deborah Stratman’s Last Things (2023)
Deborah Stratman’s ‘geoaffective’ film is striated with an associative, human poetics.
A Conversation with Paula Gaitán
Reflections on a forty-year career in film, from Indigenous cinema to ‘anti-portraiture’ and the use of ‘bad’ sound.
A Conversation with Mary Helena Clark
Moving through the dream logics of the filmmaker's entrancing work.
A Conversation with Clara Law
A filmmaker who has traversed the globe and different modes of production in her four decades with cinema.
Mercedes Pinto’s ‘Divorce as a Sanitary Measure’
In context, and translated into English for the first time: an incendiary speech from Spanish intellectual Mercedes Pinto.
After the Hunt
Luca Guadagnino’s After the Hunt begins with the non-diegetic sound of a ticking clock. In the context of this sleek…
Woman, Viewer, Subject, Object: The Faces of Lynn Hershman Leeson
Lynn Hershman Leeson defies categorisation. Her artworks are sketched, photocopied, filmed, sculpted, broadcast, cut and pasted. They are encased in…
Great, Motionless Ship: Patricio Guzmán’s Chile
On the anniversary of the Chilean coup d’état, Kaleem Hawa examines the political cinema of Patricio Guzmán, from The First Year (1972) to Chile, Obstinate Memory (1997), detailing how Salvador Allende’s socialist project is depicted and relived through documentary film.
Who will wear a crown? On Angela Schanelec’s 'Music'
In the beginning, there is fog and there is thunder. The gods are enraged. It is a struggle to see…
Rebecca Liu on 'Barbie'
The idea that femininity is a performance that alienates the subject from herself has gained even greater ground in the…
‘Nothing but defeats’: Fassbinder beyond fragments
Before I began reading Ian Penman’s Fassbinder A Thousand Mirrors, I wondered how I might have gone about writing about…
Alternative Biographies: The Lives of Artworks in Hanka Włodarczyk’s "Ślad"
In the opening moments of Hanka Włodarczyk’s film Ślad (1976), the Polish artist Alina Szapocznikow (1926–1973) takes a hammer and…
Helen Charman on 'The Eternal Daughter'
At first, Joanna Hogg’s latest film The Eternal Daughter follows the conventions of a ghost story. On a winter’s night…
Nathalie Olah on Aftersun
A man sits slumped on the edge of the bed, turned away from the camera, his broad back curved and…
The Lesbian Allure and Colonial Unconscious of Todd Field’s Tár
Tár begins with the sounds of unseen forest, a buzz of insects and birdcalls that backs the voice of Shipibo-Conibo…