Arta Barzanji selects a brief excerpt from ‘Introduction to Arnold Schoenberg’s Accompaniment to a Cinematic Scene’ as a tribute to Danièle Huillet. Continue reading Women’s Day: Danièle Huillet – A Moral Artist
At the recent French premiere of the documentary film The War is Never Over (2019, dir. Beth B), iconic No wave queen Lydia Lunch – whose tumultuous life and career are the subject of the film – described her constant struggle with childhood trauma as the creative force behind her long-lasting career as an artist, which now stretches over four decades. Continue reading Women’s Day: The War is Never Over – Transcendental Darklands of Lydia Lunch and Louise Bourque
Thoughts on this year’s César awards Continue reading Women’s Day: Adèle Haenel stands up and leaves
Poetry tribute to writer Clarice Lispector Continue reading Women’s Day: CLARICE, CLARICE
Three thoughts offered on 16mm works by German experimental filmmaker Ute Aurand. Continue reading Women’s Day: Three thoughts on Ute Aurand
Over the course of three features, several shorts and an amalgamation of fiction and non-fiction, Canadian filmmaker Sofia Bohdanowicz has deepened her expression of how family wields a powerful and complex influence over an individual’s sense of self. Continue reading Women’s Day: The Limits of Intimacy and Language in the Genealogical Cinema Of Sofia Bohdanowicz
by Patrick Preziosi Art can be inherently political, but demanding didactic manifestations of intent and closed-circuit endpoints is anything but–– the most piercingly conscious works eschew such politeness in favor of a palpable atmosphere of unknowing. If things are really so in need of fixing, why lay out a film’s thematic arc so easily? Of course, audiences and critics have demanded otherwise, and still do … Continue reading Women’s Day: Perfect, Imperfect Endings – On Barbara Loden’s ‘Wanda’ (1970)
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