An Unwavering Self-Regard: Sofia Coppola’s ‘On The Rocks’ (2020)
“That’s the way I work: I try to imagine what I would like to see,” said Sofia Coppola in an…
USA
What Is Democracy?: A Conversation With Astra Taylor
This interview was first published in Another Gaze 03 Astra Taylor is a Canadian-American activist, writer, musician, and documentary filmmaker. Her…
Oubliette
Instructions for reading: Play the song ‘Art Decade’ by David Bowie on repeat while reading this text. Read the text…
Charlie Kaufman’s ‘I’m Thinking of Ending Things’ begs for forgiveness yet again
What might Charlie Kaufman have left to say about himself after writing about himself and his screenwriter ego personified as…
Broad Horizons and Shallow Vistas in Chloé Zhao’s ‘Nomadland’ —TIFF 2020
As I write this, the reviews for Chloé Zhao’s Nomadland, which premiered earlier this week at the Toronto International Film…
Against Inheritance: Stanya Kahn’s ‘No Go Backs’
Stanya Kahn’s latest short film ‘No Go Backs’ (2020) opens with two teenage boys pissing into the grassy scrub with…
There is the sound, too, of a ticking clock: A Time-based Reading of Anne Charlotte Robertson’s ‘Five Year Diary’
In 1981, in Boston, Massachusetts, Anne Charlotte Robertson bought five rolls of Super 8 film with which to record her…
Describing the World Otherwise: Anne Charlotte Robertson’s ‘Five Year Diary’
Anne Charlotte Robertson started keeping a diary when she was 11 and never stopped. By the time the artist died…
The Luxury of Savouring in Kelly Reichardt’s ‘First Cow’
One of the pleasures of Kelly Reichardt’s narrative films is that their plots (where they exist) never feel artificial: the…
Strike on Film: Madeline Anderson’s ‘I Am Somebody’ (1970)
This essay was originally published in Another Gaze 04 (March 2020) i. Your colleagues probably won’t want to strike until,…
Mr Zuckerberg, Tear Down My Wall
A common narrative about social media goes like this: something something anxiety and deep insecurity; it’s hard to see an…
Locating the Lesbian Hand in Barbara Hammer’s Early Works
Barbara Hammer’s ‘Double Strength’ (1976) opens with a sequence of sepia photographs featuring Hammer and her then-partner, Terry Sendgraff, a…
Those Who Keep and Those Who Throw Away: On Hoarding in ‘Grey Gardens’, ‘The Gleaners and I’ and ‘Tidying Up With Marie Kondo’
“That’s all I need: an ordered life” —Edith ‘Little Edie’ Bouvier Beale, Grey Gardens Early last year, I experienced my…
Towards a Diffractive Cinema: The Video Works of Amanda Melissa Baggs (1980–2020)
Amanda Melissa Baggs, also known as Mel Baggs, died on 11 April 2020. This essay was originally published in print…
Cinema, Carcerality and Covid-19: On Watching Brett Story’s ‘The Prison In Twelve Landscapes’ (2016)
How do you represent the prison system cinematically? A certain syntax of images springs to mind: a concrete wall, coils…
As a Woman in America, Always: Eliza Hittman’s ‘Never Rarely Sometimes Always’
Autumn, the 17-year-old protagonist of Eliza Hittman’s sophomore film Never Rarely Sometimes Always (2020), first stands out because of her…
The Talking Cinema of Barbara Hammer (1939 – 2019)
“I’ve never shown ten of my films in chronological order before. I’m going to be sitting there with you and…
Elizabeth Banks’s ‘Charlie’s Angels’ and the death of early millennial camp
When I heard that Sony was going to be rebooting Charlie’s Angels in 2015, my heart – to cite Ariana…
‘Little Women’, Little Change
If the radical potential of adaptation lies in its ability to harness the energy of an established text for new…
Red, White, Yellow, Black: A Multiracial Feminist Video Collective, 1972-73
On two nights – one in December 1972, the other April 1973 – the multiracial, multimedia feminist art collective Red,…
The 57th New York Film Festival: Looking Towards Convergences in a Cluster of Films
Having just seen Alla Kovgan’s documentary about the monolithic figurehead of modern dance, Merce Cunningham, it is now my job…