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Trailers...

  • Città dei Vivi (La)
  • Sweet Nothing
  • In This Moment
  • Don't
  • Long Marathon (A)
  • Until You're Alone
  • Pretty Ugly: The Story of the Lunachicks
  • Year in London (A)
  • Youri
  • Wrong Girls (The)
  • Sweet Milk Lake
  • Shards (The)
  • Jamaal: Love Coded
  • Harbinger
  • Filter
  • Children of Blood and Bone
  • Shumei: The Living Legacy of Kabuki
  • I'm Not You
  • Phillip Philadelphia
  • I Rarely Wake Up Dreaming
  • Wolf Cat Fever
  • Broken Beak
  • Nacio Simon
  • Love on a Tightrope
  • Faces of Death
  • Our Effed Up World
  • Incomer (The)
  • Prosecution
  • Unknown (The)
  • Czech Girl
  • Man Will Burn (The)
  • Five-Star Weekend (The)
  • No Rest for the Wicked
  • Dear Future Self
  • Sea of Glass
  • San Francisco Rising
  • All Sides of the Bed
  • We're Nothing at All
  • The Night
  • Michelle Ross: Unknown Icon

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.