Revolt, She Searched by Jenny Clarke

Selina Robertson Writing

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.

Read our Zine!

Selina Robertson Writing

Including our CDFesto, a timeline of revolts and revolutions related to our film programme from 1968–1992, fabulous images from our …

Selina Robertson on SAUTE MA VILLE

Selina Robertson Writing

Every action in the film counts: cooking, eating, humming, brushing, dancing, laughing, washing, cleaning and taping; this is furious feminist work.

Jason Barker on BEFORE STONEWALL

Selina Robertson Writing

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.

Lizzie Borden on MAEVE

Selina Robertson Writing

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.

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 COLOURED 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.