A collage of two digital images in a 16 mm film frame with the sprockets visible. In the image on the left, a person wearing a white blouse, with long dark hair and a faint moustache looks down. In the image on the right, the same person is seen in silhouette, raising an arm, against a purple-toned background. A corset is just visible over their blouse.

Culture Club: Making HUG ME PROPERLY

Selina Robertson Writing

By Olivia Morrison. Hug Me Properly (2021) is a short experimental documentary, shot on 16mm film, following the lives of a queer community on a night out. They discuss how their loved ones and their lives during a pandemic have changed and how their community is more important than ever.

A white person with a full red-blonde beard, wearing a shirt and suit jacket, looks off camera. There are images superimposed over them.

Culture Club: Watching Maja Borg’s Films

Selina Robertson Writing

By So Mayer. Future My Love, Maja Borg’s feature, destabilised both past and future, excavating memories of futures once imagined and not realised – setting even what seems settled, the past, free to change.

The image shows two slim white women lying next to each other on a sandy beach in Folkestone. One woman lies on her front, she is wearing a blue bikini and white hat, she is looking down at the other woman. Her face is not visible to the camera. The other woman lies on her back, and wears a red, high-waisted bikini. She is touching her face with her hand, her face is obscured from the camera.

Culture Club: Our Screen History with Screen Archive South East

Selina Robertson Writing

The Our Screen Heritage Project has been working to acknowledge and address this queer absence in the screen archive. As part of the project, the Prides of Margate and Folkestone have worked with Screen Archive South East (SASE) to not only find footage to add to their collection but they have also gathered new queer stories and memories on film.

Welcome to Culture Club

Selina Robertson Writing

This may be a virtual thinking space but we’re creating it as a reminder of how we’re always all connected via the vital dialogue art creates. Join in the dialogue. Join us on our femme-tastic trawl through culture. 

A black and white image of the younger Maeve, with a severe fringe and long bob, in school uniform that includes a white blouse and striped tie. She is looking out under her fringe with a critical gaze at something off screen.

Culture Club: Watching MAEVE by Pat Murphy, John Davies and Robert Smith

Selina Robertson Writing

By Christine Molloy. Because the film is a miracle. I found myself seeing myself in the character of Maeve, even more so the second time round. As an Irish woman who came of age in the 80s, this is a very powerful thing. Maeve is the only cinematic version of the young woman I was, growing up in the overwhelmingly oppressive bad old days of holy Catholic 1980s Ireland.

The image is from the film Censor. It shows a white woman with dark hair, wearing a white ruched dress. She appears to be standing in the woods at night, and she is spattered with bright red fake blood.

Culture Club: Watching Prano Bailey-Bond’s CENSOR

Selina Robertson Writing

By Anahit Behrooz. Prano Bailey-Bond’s video nasty-inspired horror Censor is about many things. But it is also, utterly and irrefutably, about grief, and the absurdity of seeking or even entertaining closure after life-altering loss.

Kangyu Garam, who has short copper hair and glasses, and is wrapped in a scarf that covers the lower half of her face, shooting with a digital camera on a tripod.

Culture Club: Watching Kangyu Garam’s Documentaries

Selina Robertson Writing

By Ania Ostrowska.
I’m looking at the robust, although often critically snubbed, genre of feminist activist documentary, as seen in the work of one brilliant Korean documentarian, Kangyu Garam. High-octane feminist emotions guaranteed!