Towards a Diffractive Cinema: The Video Works of Amanda Melissa Baggs (1980–2020)
Amanda Melissa Baggs, also known as Mel Baggs, died on 11 April 2020. This essay was originally published in print…
Another Gaze↑
A journal of films and feminisms
Cinema, Carcerality and Covid-19: On Watching Brett Story’s 'The Prison In Twelve Landscapes' (2016)
How do you represent the prison system cinematically? A certain syntax of images springs to mind: a concrete wall, coils…
As a Woman in America, Always: Eliza Hittman’s 'Never Rarely Sometimes Always'
Autumn, the 17-year-old protagonist of Eliza Hittman’s sophomore film Never Rarely Sometimes Always (2020), first stands out because of her…
The Talking Cinema of Barbara Hammer (1939 – 2019)
“I’ve never shown ten of my films in chronological order before. I’m going to be sitting there with you and…
'Olivia' by Olivia
Midway through Olivia, headmistress Mlle Julie (Edwige Feuillère), going to bed, notices light under the door of one of her…
A Hellish Commons: Bong Joon-ho’s 'Parasite'
Bong Joon-ho’s Parasite (2019) is an upstairs-downstairs tale of contemporary class inequalities, as a poor and a rich family become…
'Still Moving': Ulrike Ottinger’s Shifting Archive of Identity
An experimental documentary that unpacks a personal archive without exposition, narration, or dialogue, Ulrike Ottinger’s Still Moving (2009) relies instead…
Call For Submissions – Another Gaze: The Japan Issue アナザーゲイズ:日本特集
In November 2019, Another Gaze travelled to Japan to interview sixteen women filmmakers. For our fifth issue, we are seeking…
Elizabeth Banks’s 'Charlie’s Angels' and the death of early millennial camp
When I heard that Sony was going to be rebooting Charlie’s Angels in 2015, my heart – to cite Ariana…
“Not my country, not my home, nobody in the whole world”: The Life and Cinema of Lorenza Mazzetti (1928 – 2020)
When she arrived at the British border off the ferry from France in 1951, Lorenza Mazzetti’s Italian passport was stamped…
'Little Women', Little Change
If the radical potential of adaptation lies in its ability to harness the energy of an established text for new…
Red, White, Yellow, Black: A Multiracial Feminist Video Collective, 1972-73
On two nights – one in December 1972, the other April 1973 – the multiracial, multimedia feminist art collective Red,…
("Gay Panic"): On Fan Subtitles
My love for fan-made subtitles started with the Norwegian TV series Skam (2015-2017). Skam is a drama aimed at teenage…
Women on the Edge: History, Temporality, Sisterhood and Political Militancy in Marge Piercy’s 'Vida' and Margarethe von Trotta’s 'Die bleierne Zeit'
(Crawling titles rise from bottom of frame, white-on-black:)
Against Lists
Lists of films will not save you. Lists of films will not save films. Lists of films will not reorganise…
The Great Digestive Machine: Inside the Choreography of Loie Fuller and the Underwater Cinema of Geneviève Hamon and Jean Painlevé
If the afterlife exists, I’ve always imagined that I’d like mine to be underwater. I’d be reborn as something with…