It’s important to remember that The Weeknd and House of Balloons were first.
Review: ‘Come Here’ (2021) dir. by Anocha Suwichakornpong
“Inherent in the conditions under which it was made, and in it’s strange skirting and shifts there’s an artist testing out several ideas in purposeful denial of a thesis and in a game of constant, formal and spiritual incipience.”
On Physicality and Proximity or How “Live/Online” Shows Set the Screen for a New Club Culture
“Whether through imperfection, glitches, or plurality, club culture did not die in 2020. No hierarchy intended, with this list I want to highlight some of the most powerful live/online performances.”
Betty and Marie
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’.
Corita Kent
Corita Kent – artist, nun, activist – flaunted her own interpretation of holiness by artfully expressing her love for the most common of things.