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…
‘Another Gaze’ is seeking writing for its sixth print issue
Another Gaze: a journal of film and feminisms is seeking submissions for its sixth print issue, to be released at…
‘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…
Rebecca Liu on Maria Schrader’s She Said
Journalism is concerned with documents, events and facts, not psychoanalysis. There are phenomena that it describes but does not strive…
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…
Nathalie Olah on Aftersun
A man sits slumped on the edge of the bed, turned away from the camera, his broad back curved and…
Georgie Carr on Ruben Östlund’s ‘Triangle of Sadness’
Ruben Östlund describes himself as a socialist, and on the surface his films exhibit a flair for zeitgeisty political engagement,…
Laura Staab on Ann Oren’s ‘Piaffe’ (2022)
Everything in Piaffe is attractive, including the title: a single word with French etymology and an ineffably elegant double ‘f’,…
My Own Lens and Skin: An Interview with Betzy Bromberg
Betzy Bromberg was born and raised in New York and has been making experimental work since 1976. Her intimate, intense…
Twenty-Eight Portraits of Linda Manz (1961–2020)
No. 1 She was born August 20, 1961, in Manhattan. She died August 14, 2020, in Palmdale, California. She was…
Inside the Dream: Infant observation during the pandemic and the screen as psychic portal
NB: this essay was written in early 2021 and was originally published in Another Gaze 05. We can think of the…
Laura Staab on Lucile Hadžihalilović’s ‘Earwig’
I thought I might try to pen an Oulipian essay on Lucile Hadžihalilović’s Earwig, in which a girl (despite nearing…
On Audrey Diwan’s ‘Happening’ (‘L’événement’)
Hearing about a new film adaptation of an Annie Ernaux book always makes me nervous. Her texts are so committed…
The Legacies of Sarah Maldoror (1929–2020): A Roundtable Discussion
On 13 April 2020, the political activist, theatre maker and filmmaker Sarah Maldoror died following complications from coronavirus. She was…
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) – wants…
“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…