Speaking at Cross Purposes in Claire Denis’s 'Let the Sunshine In' (2017)
“So it is a lover who speaks and who says:”
Another Gaze↑
A journal of films and feminisms
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…
Portrait of Ildikó Enyedi
[embed]https://www.youtube.com/watch?v=EMM-jTvGRcE[/embed]
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…
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…
Berlinale – Yoko Yamanaka's 'Amiko'
I’ve never been sure what lemons are supposed to symbolise and the internet is no help. Are they meant to…
Berlinale – Nana Ekvtimishvili and Simon Groß's 'My Happy Family'
A 52-year-old woman decides to move out of her family home and take an apartment alone. She has no apparent…
The Second Coming: Why Women Filmmakers Struggle To Get Their Second Features Made
The main point of contention in the much-deliberated issue of gender representation across the cinema isn’t the existence of the…
BERLINALE – Bojina Panayotova's 'I See Red People' (Je Vois Rouge)
Early on in I See Red People, Bojina Panayotova, the director and protagonist of the documentary, calls her mother, Mirena,…
BERLINALE – Marysia Nikitiuk's 'When the Trees Fall' ('Koly Padayut Dereva')
Ukrainian first-time feature director Marysa Nikitiuk’s When the Trees Fall is a fairytale of gasping, screaming excess, where narrative is…
BERLINALE – The Debt of a Mother’s Love: On Yang Mingming's 'Girls Always Happy'
To be a woman is to be in a world that understands you as other; the mere act of being…
Of River Gods and Women: Guillermo Del Toro's 'The Shape of Water'
In 1960, a state-of-the-art beachfront laboratory nestled in the Caribbean island of St Thomas began training dolphins to understand the…