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Trailers...

  • We Had a Plan
  • Lady Nazca
  • Enlorquecido
  • Trambolika
  • We Live Among You
  • Skateboarding Is Not for Girls
  • Bloody Tennis
  • Low Expectations
  • I Love Boosters
  • Sex and the Friend Group
  • Don't Fence Me In: Queer Country
  • Objet a
  • Funk
  • House on the Moon (The)
  • No Money No Honey
  • Trauma or, Monsters All
  • Party (The)
  • Finding Bernie
  • Raffle
  • Silver Express
  • Avedon
  • Kristin Key: Lesbian Army
  • George Michael: The Faith Tour
  • Male Gaze: Goodbye Love (The)
  • George Civeris: A Sense of Urgency
  • Super Paradise
  • Karl
  • Pride Weekend
  • Libertad
  • Queer Me
  • Donn. Le Danseur du XXe siècle.
  • Clarissa
  • Masc
  • Missing
  • Forty Love
  • Long Winter (A)
  • Do You Understand Or Do I Have To Spell It Out For You?
  • A Quiet Love
  • Exotic
  • Here I Am

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.