The Woman Everyone Knows: In Conversation With Aminatou Echard
In her most recent film, French filmmaker Aminatou Echard takes up the eponymous heroine of Jamilia, the 1958 novel by…
Experimental
The Visible Woman: In Conversation with Penny Slinger
Penny Slinger is a British-born multimedia artist, whose dynamic body of work weaves together elements of eroticism, feminism, spirituality and…
Pushing at the Wound: Sex in Lola Clavo’s ‘No Love Lost’ and Maria Llopis’s ‘El Belga’
A few years after I first saw it, I wrote a character in my novel Vitrinerie who described Lola…
In Defence of the Crazy Cat Lady: Carolee Schneemann’s Feline Muses
I came across Carolee Schneemann’s Infinity Kisses earlier this year during an insomniac’s trawl through YouTube, ten years after the…
“Deconstruct, reconstruct, challenge, celebrate”: In Conversation With Barbara Hammer
Another Gaze: Do you remember a moment when you decided to start making films? Barbara Hammer: I was studying painting…
Intimate Contact: Images of Suffering in the Work of Carolee Schneemann
“I live for the nude rabble rousing of Carolee Schneemann”.1 These words, written in a recent Facebook post by Lena…
Macabre Dancing: ‘Die Kinder der Toten’ (‘The Children of the Dead’) – Berlinale
Elfriede Jelinek’s novel Die Kinder der Toten [The Children of the Dead,1995], which has yet to be translated into English, tends to be…
In Search of a ‘Feminist Sensibility’: Two Shorts By Deborah Stratman and Lynne Sachs
Vever (for Barbara) dir. Deborah Stratman, 2019 Carolee, Barbara & Gunvor dir. Lynne Sachs, 2018. When the Bay Area lesbian…
Review: Notes to Self by Christina Battle – part of Forum Expanded, Berlinale
“MY ALGORITHMS ARE ALL FUCKED UP” I watch the words of this phrase – printed in an all-caps, blue serif font – slowly vanish…
Screening Female Desire: Bette Gordon’s ‘Variety’ 35 Years On
‘Once in a fiction workshop my professor critiqued a scene because “women wouldn’t ask about a hookup’s performance in bed”…
Finding Your Rage: On Club des Femmes’ ‘Revolt, She Said’ Programme
In 2018, feminism is everywhere and nowhere at once. Women, we are told, can now be CEOs, and entrepreneurs and…
Wandering across Frames: Moyra Davey and the Feminist Essay Film
In ‘Walking with Nandita’, an essay for documenta 14 composed of photographs and fragments of text, Canadian artist Moyra Davey…
Learning to Care: Adina Pintilie’s ‘Touch Me Not’
To be intimate and vulnerable with another involves being honest with oneself, or so the saying goes. This task is…
In Conversation With Carolee Schneemann
Carolee Schneemann is an American visual artist, known for her discourses on the body, sexuality and gender. In the ’60s…
Filming too Close: Naomi Kawase and the Caring Filmic Gesture
1 – We both like the same things. We’re parent and child. Are you filming again? Give it a rest!…
From out of the Margins: BAM’s ‘A Different Picture: Women Filmmakers in the New Hollywood Era’ Series
Claudia Weill’s Girlfriends (1978) feels at once strikingly fresh and familiar, which is perhaps the secret of its enduring popularity…
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…
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…
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…