Marie Trintignant retains a few performative constants as the ground shifts below her feet as the title character in Claude Chabrol’s Betty (1992): a stare that vacillates between the suggestively dim and the piercing, an insatiable whiskey habit, rampant chain smoking, a visage that appears as if it’ll crack into surrender at any given moment, and a Chanel suit as uniform.
The Metamorphosis of Birds (2020) dir. Catarina Vasconcelos
When I was growing up I kept a memory box for keepsakes. Being sentimental and shy meant each trip outside warranted souvenirs.
From the Beating Heart of the Feminist Rally: A response to ‘Battlefield’ (2020), dir. Silvia and Andrea Laudante
Where do they walk, these womxn? To work. To their kids. To their lovers. To rally, to fight for the rights of their own bodies.
Book of Judith
One of my most memorable experiences during lockdown was reading Deadline at Dawn, British critic Judith Williamson’s sparkling collection of essays from the eighties.
On how things actually play out
To be regarded as an artist, as a person, rather than a ‘woman filmmaker’, a ‘woman’.
JD 2.0
Since the official start of the pandemic one year ago, I have found myself thinking about Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) every now and then.
Winter for Rose
I am absolutely tickled by the fact of a filmmaker named Rose making a name for herself with a ‘Bouquet’ series, collecting flowers.
Blu Review: ‘How You Live Your Story – Selected works by Kevin Jerome Everson’ (Second Run)
by MLP Last fall, Second Run released a 2-disc blu-ray set featuring 8.6 hours of work by American artist-filmmaker Kevin Jerome Everson, titled ‘How You Live Your Story’. […]
On Catching Glimpses…
Welcome to the future. We ride on the last of many train cars, which is the present, traveling forward through the past, or the future. In our daily life the past may as well be the future.
Essay: There’s no democracy of hands but there are many hands in a democracy: ‘City Hall’ (2020) and ‘Her Socialist Smile’ (2020)
To look at the design and flaws of American politics and democracy, Wiseman chooses an entire city and its system as his focal point. Gianvito, on the other hand, chooses a single individual, whose life nevertheless encapsulated a tumultuous early 20th century.