In an exclusive essay for Filmatique, Guest Curator Ritika Biswas examines violence and the latent feminist politics (or lack thereof) in Ana Lily Amirpour's A Girl Walks Home Alone at Night.
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In an exclusive essay for Filmatique, Guest Curator Rebecca Lynes examines British legacies of the high-rise as social housing, class division, and the surveillant gaze in Andrea Arnold's Red Road.
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In an exclusive essay for Filmatique, Head Curator Ursula Grisham explores the concealed architecture of female sexuality as unraveled by Eliza Hittman in It Felt Like Love.
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In an exclusive essay for Filmatique, Guest Curator Sam Thompson analyzes a brother and sister's survival strategies in Songs My Brothers Taught Me.
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In an exclusive essay for Filmatique, Guest Curator Rebecca Lynes explores Home as allegorizing, by turns, the imposition of modernity, climate disaster, and the cascading effects of masculine anger.
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In an exclusive essay for Filmatique, Guest Curator McNeil Taylor examines Godard's cinematic language as a rapprochement between species, an image that mediates human and non-human realms.
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In an exclusive essay for Filmatique, Guest Curator Ieuan Walker examines Stéphane Brizé's philosophical articulation of individual will and responsibility vis-à-vis the historical oppression of women in Une Vie (A Woman's Life).
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In an exclusive essay for Filmatique, Guest Curator Ieuan Walker explores the culturally-specific practice of ulwaluko as a conduit to understanding transnational paradoxes of masculinity and LGBT+ oppression, in John Trengove's Inxeba (The Wound).
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas examines Maori marginality, cinematic fantasies, and imagined manhood in Taika Waititi's Boy.
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In an exclusive essay for Filmatique, Dr. Maurizio Marinelli explores the dynamics of urban exploitation and the possibility of renewal in contemporary Thailand, seen through Kirsten Tan's debut feature Pop Aye.
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In an exclusive essay for Filmatique, Dr. Jarmo Valkola discusses configurations of space and time in Lisandro Alonso's Liverpool.
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In an exclusive essay for Filmatique, Guest Curator Aldo Kempen explores how More Than Honey probes the limits of the spectator's imagination, opening onto realms of consciousness and collectivity beyond the human.
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In an exclusive essay for Filmatique, Dr. Jarmo Valkola explores Patricio Guzmán's pictorialist aesthetics and notions of temporality in The Pearl Button.
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In an exclusive essay, Filmatique's Head Curator Ursula Grisham examines cinematic representation as political exposure, tracing modes of precariousness across indigenous, animal and ecological realms in Jayro Bustamante's debut film Ixcanul.
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In an exclusive essay for Filmatique, Dr. Paula Halperin contextualizes Penélope within stereotypical cinematic portrayals of female protagonists and the challenges faced by independent filmmakers in Argentina.
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In an exclusive essay for Filmatique, Dr. Paula Halperin explores the latent political possibilities of La Soledad, a film that posits alternative forms of possession in Venezuela—a country mired both in economic crisis and the social legacies of slavery.
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In an exclusive essay for Filmatique, Guest Curator Ritika Biswas explores the political architecture of Miko Revereza’s debut feature, No Data Plan.
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In an exclusive interview with Filmatique, Revereza discusses opening imaginative spaces in film, the politics of private prisons, an American future devoid of hope and the necessity of stateless peoples telling their own stories.
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Filmatique's Top Films of the 2019 IFFR - International Film Festival Rotterdam include Ena Sendijarevic's Take Me Somewhere Nice, Alice Rohrwacher's Lazzaro Felice, and Miko Revereza's No Data Plan.
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In an exclusive essay for Filmatique, Dr. Vinodh Venkatesh examines the multiple violences of Colombia's civil conflict and the ghostliness of migration vis-à-vis Oscuro Animal, a film that evokes a full sensorial immersion in the phenomenology of the jungle.
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