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  • Traveling with Her
  • Two Women
  • Sally
  • Keep Coming Back
  • Eros
  • Cactus Pears
  • According to Otto
  • #1 Happy Family USA
  • Newborn
  • Where the Wind Comes From
  • Love Bites
  • Four Seasons (The)
  • Fear Street: Prom Queen
  • Brooklyn Butcher (The)
  • Étoile
  • Midnight in Phoenix
  • Grotesquerie
  • Sudden Outbursts of Emotions
  • Idyllic
  • Spermageddon
  • La Joia: Bad Gyal
  • Sobre las olas
  • Arthur Erickson: Beauty Between the Lines
  • Parade: Queer Acts of Love & Resistance
  • Pee-wee as Himself
  • Pwede G, pwede B
  • Alien: Romulus
  • Male Gaze: Reality Bites (The)
  • Mariliendre
  • Things Like This
  • Last First Time (The)
  • Sylvia Robyn
  • Sorry, Baby
  • Reset
  • Ramón y Ramón
  • President's Wife (The)
  • Inside
  • Ten Pound Poms
  • Culinary Uprising: The Story of Bloodroot (A)
  • Fuori

Regrouping

Country: USA, Language: English, 74 mins

  • Director: Lizzie Borden

CGiii Comment

There is a reason why some films are rarely seen...

Brought out of the archive and dusted off for the 70th Edinburgh Film Festival...well, they needn't have bothered.

The quality - both audio and visual - is utterly terrible. As for content...it's sisterhood this, sisterhood that...and then, there are two killer lines near the beginning...

Women are women's best enemy...something that modern-day feminists to heed!

And, to paraphrase the other...some of us [i.e in the sisterhood] decided to become lesbians!!! What?!? Decided?!?

The temptation to walk out was overwhelming...especially after an elongated introduction by two connoisseurs of feminist cinema...neither of whom had seen the film...but, insisted how brilliant it was...how wrong they were!


No trailer...

The(ir) Blurb...

First screened at EIFF in 1976, Borden’s multi-layered film within a film is the highlight of this year’s retrospective focus on the 1970s. It follows the activities of a women’s group, whose political ideals are unraveled and questioned throughout the process of collaboration. The film’s self-reflexive techniques keep the viewer guessing about the relationship between the real and the staged, dismantling the objective foundations of the documentary form. A powerful and rarely seen classic of feminist filmmaking.