Selling Sweat: On the Ethics of Renting ‘Extraordinary Bodies’ in Mika Rottenberg’s Videos
Throughout Mika Rottenberg’s career, the artist has – as she puts it – rented the bodies of extraordinary women. By…
Argentina
In The Name of The Mother: Maura Delpero’s ‘Maternal’ —Locarno
What is motherhood? Maura Delpero’s Maternal (Hogar, 2019) shows a world in which two paradigms of maternity – the single…
Fragments of Lucrecia Martel’s ‘The Headless Woman’ (‘La mujer sin cabeza’, 2008)
1. In Lucrecia Martel’s The Headless Woman (La mujer sin cabeza, 2008), the protagonist bears her guilt so singularly you…
“I have always wanted it”: Sebastián Lelio’s ‘Disobedience’
Disobedience, Sebastian Lelio’s adaptation of Naomi Alderman’s novel of the same name, follows the story of Ronit, a lapsed Orthodox…
Navigating the liquid cinema of Argentina’s ‘Las Calles’ by María Aparicio and ‘El Futuro Perfecto’ by Nele Wohlatz
When film critic Roger Alan Koza asked María Aparicio, a young filmmaker from Córdoba, Argentina, about the experience of shooting…
Madonna, Whore, ‘Alanis’
In the poster for Anahì Berneri’s Alanis (2017), the eponymous female protagonist (played by Sofia Gala) sits on a chair…
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…