Features
Culture Slut: What Does a Best Actress Oscar Nominee Need to Win?
Emilia Perez, Mexico and the Problem of Representation Without Context
Non Threatening Boys*: Action Movies are for Lover Girls
Film Fatale: Dinner in America, Weird Girl Representation and Loser-Core
So It’s Come to This: A Skibidi Toilet Movie
Maika Monroe On Longlegs, Auteurship and Keeping the Industry at Arm’s Length
What Morvern Callar Has to Teach Us About Empathy
Sofia Coppola’s Priscilla: Female Adolescence is a Timeless Narrative
“I once knew these two people”: Paris, Texas and Reinterpreting the Aftermath of Trauma on its 40th Anniversary
Film Fatale: Morgiana and the Scheming Woman
Film Fatale: May December, Female Orientated Cinema and How Todd Haynes is Keeping the Melodrama Alive
Film Fatale: In Defence of Misery’s Annie Wilkes
"How Many Ladies Have to Die to Make It Good?" - Surviving the Patriarchal Surveillance State of 'In the Cut'
“I Am Not Invisible!”: The Mother-Daughter Wardrobes in ‘Mermaids’
How Medusa Deluxe Pulls Back the Velvet Curtain on the Production of Glamour
Jennifer Esposito Spins the Mafia Genre on its Head in Directorial Debut Fresh Kills
Briana Middleton on How to Prepare for Starring in a Psychological Thriller
Beauty Archivist: Cabaret’s Makeup is an Argument Against Winged Eyeliner
Director Eva Vik on Cinema, Female Intuition and her new film, Serpentine
