EssaysMarch 5, 2023 Alternative Biographies: The Lives of Artworks in Hanka Włodarczyk’s “Ślad” By Octavia Stocker
EssaysJanuary 25, 2023 The Lesbian Allure and Colonial Unconscious of Todd Field’s Tár By Luna Beller-Tadiar
EssaysJuly 3, 2022 Inside the Dream: Infant observation during the pandemic and the screen as psychic portal By Maeve McIlwain
EssaysApril 13, 2022 The Legacies of Sarah Maldoror (1929–2020): A Roundtable Discussion By Annouchka de Andrade, Awa Konaté, Beti Ellerson, Daniella Shreir, Henda Ducados, Janaína Oliveira, Nuotama Bodomo, Yasmina Price
NewsJune 24, 2020 Another Gaze x Fitzcarraldo: Moyra Davey’s ‘Index Cards’ Launch + Screening By Another Gaze
Portrait of a FilmmakerSeptember 6, 2022 My Own Lens and Skin: An Interview with Betzy Bromberg By Kathryn Siegel
Portrait of a FilmmakerAugust 3, 2019 The Woman Everyone Knows: In Conversation With Aminatou Echard By Daniel Kasman
Essays, Portrait of a FilmmakerJune 26, 2019 The Visible Woman: In Conversation with Penny Slinger By Sophia Satchell Baeza
Portrait of a FilmmakerMarch 17, 2019 “Deconstruct, reconstruct, challenge, celebrate”: In Conversation With Barbara Hammer By Another Gaze
Festivals, ReviewsSeptember 21, 2020 Broad Horizons and Shallow Vistas in Chloé Zhao’s ‘Nomadland’ —TIFF 2020 By Esmé Hogeveen
Festivals, ReviewsOctober 20, 2019 The 57th New York Film Festival: Looking Towards Convergences in a Cluster of Films By Bessie Rubinstein
Festivals, ReviewsOctober 16, 2019 Mati Diop’s ‘Atlantique’ (‘Atlantics’) turns to the women left behind By Another Gaze