Call for submissions: ‘Another Gaze’ Issue 02
Another Gaze is seeking submissions for its second print issue, to be released this autumn. We are an open-access journal,…
Lean on Pete, the anti-Odyssean epic
Andrew Haigh’s Lean on Pete takes the Yorkshire-born filmmaker to the luxuriant plains of America’s Pacific Northwest, where a fifteen-year-old…
Jaume’s World: The Patriarchal Imaginary of Jaime Rosales’s ‘Petra’
Note: Review contains a few of many spoilable plot points. Petra, the sixth feature from Spanish arthouse director Jaime Rosales,…
“Learn to love your claustrophobia”: Jason Reitman’s ‘Tully’
Watching either of the two trailers for Tully, the third collaboration between Diablo Cody and Jason Reitman, you’d be forgiven…
Cannes Review: Agnieszka Smoczynska’s ‘Fugue’ (‘Fuga’)
There’s a scene in Agnieszka Smoczynska’s second feature film, Fugue, where the husband of amnesiac protagonist, Alicja (screenwriter Gabriela Muskała),…
Cannes Review: Alice Rohrwacher’s ‘Happy as Lazzaro’ (‘Lazzaro Felice’)
The idea for Happy as Lazzaro (Lazzaro Felice) reportedly came to Alice Rohrwacher when remembering an article she had read…
Cannes Review: Jafar Panahi’s ‘Three Faces’ (‘Se Rokh’)
Jafar Panahi’s Three Faces begins with a suicide video that may or not be real. A well-known actress, Behnaz Jafari…
Care at the Margins: Debra Granik’s ‘Leave No Trace’ (2018)
What does it mean to retreat, to withdraw, to leave the village for the forest? Is it a rejection of…
Cannes – Zsófia Szilágyi’s ‘Egy nap’ (‘One Day’)
Zsófia Szilágyi’s debut film One Day (Egy nap) is a study in the purgatory of motherhood and is riddled with…
mother! in the name of The Father
“The stories of both the Anthropocene and the Capitalocene teeter constantly,” warns Donna Haraway, “on the brink of becoming much…
Radical Banality: On Chantal Akerman, Labour in Cinema, and the Legacy of May ‘68
“The most boring, monotonous films [sic] any director ever made. In this film, they just show the woman doing her…
“But it’s not real”: Rape as Metaphor in Sergei Loznitsa’s ‘A Gentle Creature’
“The only thing worse than rape,” filmmaker Sergei Loznitsa wrote in the press notes for his 2017 film A Gentle…
Speaking at Cross Purposes in Claire Denis’s ‘Let the Sunshine In’ (2017)
“So it is a lover who speaks and who says:” So begins Roland Barthes’s A Lover’s Discourse: Fragments, a philosophical…
The Provincialism of the White Hipster: On Wes Anderson’s ‘Isle of Dogs’
Isle of Dogs presents, without a hint of irony, an American filmmaker’s fiction about the horrors of an internment camp…
Another Gaze journal presents a day of feminist film screenings and talks in New York at the Renee Chaim and Gross Foundation for its US journal launch
To celebrate the US launch of their first print edition, Another Gaze: A Feminist Film Journal are hosting an afternoon…
Reconceiving trans womanhood and sexual pluralism in Rosa von Praunheim’s ‘City of Lost Souls’
A seminal figure in the Queer German Cinema and a key proponent of AIDS activism, Rosa von Praunheim has cemented…
Baroque Pleasures and Queer Transformations in Evangelia Kranioti’s ‘Obscuro Barroco’
Obscuro Barroco (2018) is shot through with the baroque. Textures of fabric and flesh, caught in movement, guide the essay…
A Drama of Access: On Sebastián Lelio’s ‘A Fantastic Woman’
At the recent Academy Awards A Fantastic Woman pulled off the historic double feat of claiming both the first-ever Oscar…
In Praise of Mia Hansen-Løve’s ‘Things to Come’
Does the future look something like the sea? The opening scene of Mia Hansen-Løve’s Things to Come (its French title…
Portrait of Ildikó Enyedi
Ildikó Enyedi is a Hungarian screenwriter and filmmaker. She has directed eight films since 1989. My 20th Century won the…
BERLINALE – A remedy against the solitude of war: On Lola Arias’s ‘Theatre of War’ (‘Teatro de guerra’)
Malvinas una representación inconclusa (Malvinas: An Inconclusive Representation), an essay written by Lara Segade for the Argentine film magazine Kilómetro…