Dreamscapes and Ethnospheres: Ben Rivers and Anocha Suwichakornpong’s ‘KRABI, 2562’ (2019)
Describing the motivation behind his feature The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not…
UK
“Not my country, not my home, nobody in the whole world”: The Life and Cinema of Lorenza Mazzetti (1928 – 2020)
When she arrived at the British border off the ferry from France in 1951, Lorenza Mazzetti’s Italian passport was stamped…
The Queer Subjectivity of Charlotte Prodger’s ‘BRIDGIT’
Near the end of her Turner Prize-winning film ‘BRIDGIT’ (2016), Charlotte Prodger remembers reading “things Sandy Stone wrote in 1994…
Notes on the City: Andrea Luka Zimmerman and Adrian Jackson’s ‘Here For Life’ —Locarno
In an interview in 1968 Pasolini described going especially from Casarsa to Udine to see Vittorio De Sica’s The Bicycle…
‘You Don’t Know What You Want, Do You?’ The Life And Work of Jane Arden
Jane Arden (a pseudonym possibly drawn from a ‘girl reporter’ comic strip, or a correspondent of Mary Wollstonecraft, or both,…
The (Not So) Queer Failure of Chanya Button’s ‘Vita and Virginia’
Virginia Woolf and Vita Sackville-West met at a party.i According to historical records this was a dinner party, but in…
De-fetishising the Commodity: Xiaolu Guo’s ‘Five Men and a Caravaggio’
Five Men and a Caravaggio is true to its title: a story of five men, each from different artistic professions,…
The Precarious Politics of Yorgos Lanthimos’s ‘The Favourite’
In The Monstrous Feminine, Barbara Creed outlines the horror we associate with images of the interior made exterior. Drawing on…
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…
On ‘Killing Eve’
Is it possible to tell when a television programme has been masterminded by a woman? And if so, what is…
“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…
Bare life, corrupt elites and surviving in today’s America: On Steve McQueen’s ‘Widows’
While the United States Senate was debating the confirmation of Brett Kavanaugh in Washington DC, the trial of a century…
Carol Morley’s ‘Out of Blue’: Refractions of “The Female Investigative Gaze”
Following the TIFF world premiere of Carol Morley’s fourth feature-length film, Out of Blue (2018), the director, seated adjacent to…
Why ‘Lady Macbeth’ is the Intersectional Feminist Film You Didn’t Know You Needed
We’re often a little too happy to classify as ‘feminist’ anything that presents lead female characters confronting gendered oppression, but…
“My View Not Their View”: The Rewriting of Andrea Dunbar’s Story
In May of last year, I attended the 30th anniversary screening of Alan Clarke’s Rita, Sue and Bob Too (1987)…
Suddenly, a Woman Spectator: An Interview with Laura Mulvey
Laura Mulvey (b. 1941) is best known for the groundbreaking essay ‘Visual Pleasure and Narrative Cinema’ (1973, published 1975) in…
Suffering and the Limits of Criticism: Jenny Lu’s ‘The Receptionist’
When Jenny Lu graduated from London’s Chelsea College of Art in 2009, she left with the same bright-eyed optimism typical…
We Need to Talk About Violence in Lynne Ramsay’s ‘You Were Never Really Here’
In You Were Never Really Here (2017) – Lynne Ramsay’s first feature film since 2011 – Joe (Joaquin Phoenix) is…
Lean on Pete, the anti-Odyssean epic
Andrew Haigh’s Lean on Pete takes the Yorkshire-born filmmaker to the luxuriant plains of America’s Pacific Northwest, where a fifteen-year-old…