On the Double Nature of Filmed Mice
I'm watching Marketa Lazarova with a friend and we’re halfway through a scene that I consider to be one of…
Another Gaze↑
A journal of films and feminisms
A Backwards Trajectory through Camille Henrot’s 'Days are Dogs'
A pulsing flower, a botox injection, a watery baptism: through this collection of images, Camille Henrot’s Saturday (2017) explores the…
On Andrey Zvyagintsev's 'Loveless' and the casual cruelty of modern love
If hell hath no fury like a woman scorned, the women of Loveless make clear how, for scorned women, the…
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Power, performance and personhood: On 'Phantom Thread'
Contains spoilers:
A Hard, Uncomfortable and Poetic Film About the Survival of People: On 'Mudbound'
In his novel, Requiem for a Nun, William Faulkner writes: “The past is never dead. It’s not even past.” Born…
Between the Ingénue and the Heroine: on Sandrine Bonnaire’s 'Marianne Faithfull: Fleur d’Âme'
Sandrine Bonnaire possesses a face which, in its planar, geometric architecture, seems designed to be in front of the camera,…
Little More Than A Temper Tantrum: On Ruben Östlund's 'The Square
The Square opens on an interview between art curator Christian (Claes Bang) and journalist Anne (Elisabeth Moss). She starts gently…
A Shamefully Cack-Handed Depiction of Violence Against Women and Ethnic Minorities: On 'Three Billboards Outside Ebbing, Missouri'
TW: Rape, racial violence, police brutality
Beauty is truth: on Alain Gomis’s 'Félicité'
Félicité is a singer at a local bar in Kinshasa, the busy and vibrant capital of the Democratic Republic of…
How can we ever make a movie about nymphets?
Stanley Kubrick’s 1962 film Lolita is in black and white, but we all know the colour of Lolita’s lollipop. It…
The Extraordinary and the Ordinary: Teresa Griffiths's 'Leonora Carrington: The Lost Surrealist'
Leonora Carrington’s best known story features a bored debutante who persuades a hyena to replace her at a ball. Disguised…
The Discomfort of Recognition: Andrea Luka Zimmerman’s 'Erase and Forget' (2017)
“How do we see each other, rather than mak[e] someone other?” With this question, filmmaker Andrea Luka Zimmerman gestures toward…
Cecelia Condit’s Body of Becoming: Women and the Dark Forest of Dreams
“…because the unconscious, that other limitless country, is the place where the repressed manage to survive: women, or as Hoffmann…
Jeanne Moreau and Marguerite Duras: on Film, Love, and Female Friendship
Cet amour-là (Josée Dayan, 2001) was not especially well received on either the festival circuit or commercially, but there is…
Mischief in the Magic Castle: On Sean Baker’s 'The Florida Project'
It is said that well-behaved women seldom make history. In Sean Baker’s The Florida Project, the badly behaved ones make…