Stöckl’s unapologetically feminist politics and stark narrative devices nod to directors such as Varda, Akerman and Chytilová, whilst the art-direction, costumes and music tap into the giddy optimism of the time.
The film is umami: Moffatt gives us sweet tang in the “nice” girls of the title, cut in contrast with the “nasty” girls of the 1982 number one pop song she employs, Vanity 6’s Nasty Girl.
We are all, every day now, witnessing or experiencing the sort of brutality that, to paraphrase June Jordan, is hardening us in a place of rage.
With irreverent energy Daisies tears apart a stifling patriarchal order in a mischievous riot of destruction; its focus upon clearing the ground, rather than organising what may come after.
It celebrates the joyfully fierce defiance of the protestors against systems that don’t care, and explores the necessary work that comes with creating new ways of living. They are gentle angry people, singing for their lives.
There could not exist a more politically apposite moment to re-watch Mai Zetterling’s visionary The Girls than the one we are living through right now.
Dulwich Picture Gallery interviewed us in the run up to our participation their special Late, …
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Our friends at the ICO interviewed us for their blog to mark our first decade of queer feminist programming.
Dazed invited us together with five other rad film organisations to weigh in on representation in the film industry, tools …