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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Filmatique presents The Future is Female (Directors), a showcase of first features from some of contemporary cinema's most prominent female directors.
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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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Filmatique presents French Art House, a collection of films from some of the most exciting directors working in France.
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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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Filmatique presents Visions from the South of the World, a collection of stunning works from prominent filmmakers working in the southern hemisphere.
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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 interview for Filmatique, Thielen Armand discusses patience and stamina, cinematic representations of violence, the subjective nature of sound, and his upcoming film La Fortaleza.
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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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