The End of Joachim Trier’s "Oslo Trilogy"; The End of Art and Community
Joachim Trier’s “Oslo Trilogy” – Reprise (2006), Oslo, 31 August (2011) and The Worst Person in the World (2021) –…
Another Gaze↑
A journal of films and feminisms
"Agnes & Perfection" by Lizzie Borden
It was the seventies. I was a young and untested art critic when John Coplans, then editor of Artforum, asked…
Kira Muratova’s Queer Bloc: Situations, Generations, Nations
None of the worlds belonging to distinct characters can be universal and dominate the worlds of other characters. —Kira Muratova,…
Fall Into The Centre Of The Earth And Deal With Yourself: On Sadie Benning's Video Diaries (1989-1990)
James Wickstead designed the Fischer-Price PXL Pixelvision, one of a small number of starter camcorders marketed to children in the…
Rebecca Liu on Maggie Gyllenhaal's 'The Lost Daughter'
I have become used to films about Mediterranean summers filled with sweeping wide shots of golden beaches, sand and greenery,…
Georgie Carr on Pablo Larraín’s 'Spencer'
When Diana was killed in a car crash in August 1997, my dad drove our family to the beach in…
Rebecca Liu on Jane Campion's 'The Power of the Dog'
Ten minutes into Jane Campion’s The Power of the Dog, an aloof ranch owner sits at the end of a…
In Search of Lost Time: Theresa Hak Kyung Cha’s Cinematic Imagination
This essay appears in Another Gaze 05 which you can preorderhere.
Pass This On: Prano Bailey-Bond's 'Censor' (2021)
The lingering profundities of horror are rarely to be found in a film’s straightforward symbolism but instead in the figurative…
For Magdalena Montezuma
The women in Werner Schroeter’s exuberant films come into sharp focus via two scenes from Der Bomberpilot (The Bomber Pilot,…
To Describe the World: A Conversation with Courtney Stephens about 'Terra Femme'
Courtney Stephens’s performance lecture Terra Femme ranges from the North Pole to the South Seas, and over everywhere in between.…
On Emma Seligman’s 'Shiva Baby'
Emma Seligman’s Shiva Baby is a confused and hectic debut that follows a young woman, Danielle (Rachel Sennott), who is…
"Yes, girls, we love your corpses": Emerald Fennell's 'Promising Young Woman'
Emerald Fennell’s Promising Young Woman opens to the dreamy electronic notes of Charli XCX’s ‘Boys’, the London singer’s 2017 light-hearted…
Sarah Maldoror (1928–2020), as remembered by her two daughters
These introductions were originally read as part of the roundtable 'The Legacies of Sarah Maldoror 1928–2020' (12 May 2020), which…
Jessa Crispin on Dasha Nekrasova's 'The Scary of Sixty-First' (2021)
From the first moments of The Scary of Sixty-First, I was thinking about Sofia Coppola. Not the films she directed,…
Passion Imperfect: On Danielle Arbid’s Simple Passion
Midway through Simple Passion (2020) the protagonist, Hélène, played with studied poise by Laetitia Dosch, announces to her lover, “I…