Kanchi Wichmann on THE CAT HAS NINE LIVES

Selina Robertson Writing

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.

Tara Judah on NICE COLORED GIRLS

Selina Robertson Writing

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.

Nazmia Jamal on A PLACE OF RAGE

Selina Robertson Writing

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.

Carmen Gray on DAISIES

Selina Robertson Writing

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.

Sophie Brown on CARRY GREENHAM HOME

Selina Robertson Writing

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.

Anna Backman Rogers on THE GIRLS

Selina Robertson Writing

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.