Connecting with new potential audiences for Revolt, She Said, I looked beyond the current cinema audience to the growing young feminist communities all around the UK.
DAISIES + SAUTE MA VILLE! screened at the Lexi as part of their Summer Film School, and CdF’s So Mayer went …
Including our CDFesto, a timeline of revolts and revolutions related to our film programme from 1968–1992, fabulous images from our …
Read about ICO programmer Isabel Moir’s intrepid journey into the regional film archives….thank you Isabel for your amazing work!
The Sphinx is re-emerging. It was never defeated, never fully gone, just lying dormant. It is resurrected.
Every action in the film counts: cooking, eating, humming, brushing, dancing, laughing, washing, cleaning and taping; this is furious feminist work.
I was drawing up the power of dykes through time – the passing women of Before Stonewall, the butches and femmes, the people in the middle of nowhere just doing it.
Pat filmed, edited and presented MAEVE within the five-year period in which BORN IN FLAMES was made. While we played with fake guns and planted fake bombs in downtown Manhattan, Pat travelled in and out of a real war zone.
In One Sings and the Other Doesn’t correspondences serve as journeys towards and away from each other. They are journeys toward sameness and towards difference.
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.