Author Gwendolyn Audrey Foster

Gillian Armstrong’s High Tide (1987) can be seen as a variant on the maternal melodrama. It centres around the struggles of a teenaged young mother who is unable to care for her daughter and abandons her to her...

“For if one history is lost, all of us are less rich than before.” — Barbara Hammer Barbara Hammer’s first feature-length film, Nitrate Kisses (1992) is a landmark of LGBT+ cinema. After a lifetime of teaching...

While it’s impossible to say when film theatres will reopen, on the bright side, it has been both exciting and humbling to be involved in the rapid evolution of streaming platforms to accommodate radical experi...

Vittorio De Sica’s wartime drama La ciociara (Two Women, 1960) had a decidedly peculiar genesis. Adapted from a 1957 novel by Alberto Moravia, with a script by De Sica’s long-time collaborator Cesare Zavattini,...

William A. Wellman was known throughout his career as a tough director who made grimy, realistic movies about tough people surviving desperate situations. Though he is perhaps best known for his films about des...

One of the most sublime of all Ernst Lubitsch’s romantic comedies, Trouble in Paradise (1932) is a delicate and carefully balanced mixture of languorous romance, luxurious exoticism and sophisticated comedy, in...

Claude Chabrol is often called the French Hitchcock, but, to my mind, Chabrol is the far more provocative director, because of his brutal honesty about the hopelessness of human behaviour in a patriarchal world...

Though she is best known in the West for her widely celebrated anarchic experimental feminist classic Sedmikrásky (Daisies, 1966), Věra Chytilová has a large body of work. She was one of the members of the Czec...

Based on the life story of tanka poet Fumiko Nakajo (1922–1954), Kinuyo Tanaka’s Chibusa yo eien nare (The Eternal Breasts, 1955) is a remarkably feminist film in many respects. The film’s director, Kinuyo Tana...

b. 6 June 1950, Brussels, Belgium d. 5 October 2015, Paris, France “When people ask me if I am a feminist film maker, I reply I am a woman and I also make films.” -  Chantal Akerman Chantal Akerman was one o...

Fearless, ruthlessly economical and deeply felt, 2 Friends (1986), Jane Campion’s first feature – actually made for Australian television, and clocking in at a spare 79 minutes – is a modest yet accomplished fi...

Nearly forty years after her death in 1979, Dorothy Arzner remains one of the most fascinating American filmmakers to work within the Hollywood studio system. While a few of her films, such as Dance, Girl, Danc...