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Trailers...

  • Oxygen Masks Will (Not) Drop Automatically
  • Life Inside Me (A)
  • Love Me Tender
  • Doin' It
  • Thirty Years with the Whip
  • Compulsion
  • Inside Amir
  • Peter Hujar's Day
  • Captive (The)
  • Constantinopoliad
  • Weapons
  • Follies
  • I Have Never Been on an Airplane
  • Nova 78'
  • Alexina B. Composing Lives
  • Long Road to the Director's Chair (The)
  • Griffin in Summer
  • Girls & Boys
  • Premiere (The)
  • Unforgivable
  • Wayward
  • Cutaways
  • My Sunnyside
  • Brigitte’s Planet B
  • How Far Does The Dark Go?
  • Brief History of the LGBT+ Press in Brazil (A)
  • Internal Comms
  • Ghost Empire § Mauritius-Chagos
  • Mothers, Lovers and Others
  • Labyrinth of Lost Boys
  • Gunyo Cholo: The Dress
  • Days of August
  • Chica Quinqui
  • After the Hunt
  • Desire Lines
  • History of Two Warriors
  • Einfach machen - She-Punks von 1977 bis heute
  • Couture
  • Out Standing
  • History of Sound (The)

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.