Men will never save you: On Coralie Fargeat’s ‘Revenge’
At the start of Coralie Fargeat’s debut film Revenge, Jen, the protagonist, could be an image plucked from a…
France
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…
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…
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 – 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,…
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…