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.
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 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.
When you are fourteen, and a half, a new poem by Sarah Lasoye in response to Madchen in Uniform, screening Sunday 25 Sept at the Rio as part of Fringe!
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.
This Q&A between Bird’s Eye View’s Melanie Iredale and (via Zoom from Melbourne) The Drover’s Wife writer, director, co-producer and star Leah Purcell (Goa-Gunggari-Wakka Wakka Murri) was recorded at a #ReclaimTheFrame preview screening at Rio Cinema on Mon 9 May 2022.
By Sam McBean. Working Girls invites us to look at sex work not for its difference, but for its similarity to many other kinds of work, and to work more generally under capitalism.
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.
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.
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!