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  • Prime Target
  • Fragments of Us
  • Sapir
  • Sandbag Dam
  • Rains Over Babel
  • Midnight in Bali
  • Gai(e), tu ne seras point
  • Elementary
  • Garbo: Where Did You Go?
  • Bikechess
  • Act Up Ou Le Chaos
  • One of Them Days
  • Presence
  • Clean Slate
  • Somewhere in Love
  • Endless
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  • In Ashes
  • Bad Reputation
  • Akin's Desert
  • Quir
  • Parque de diversões
  • Odd Fish
  • Moment for Love (A)
  • Love Me
  • Under the Southern Cross: The Art and Legacy of Henry L. Faulkner
  • Those Who Wait
  • Found Photo (The)
  • Surfacing
  • Armand
  • Bliss
  • Cheers to Life
  • Full Support
  • Who Wants to Marry an Astronaut?
  • Queer Church
  • Better Man
  • Fugue
  • Frikis (Los)
  • Blue for a Boy
  • Best Friend (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.