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Trailers...

  • Hadestown: The Musical
  • Dad on Arrival
  • Since We've No Place to Go
  • Song for Eresha (A)
  • Free Fall: Who you are
  • Phoebe
  • Red Light
  • Meet Me at the Club
  • Chris & Martina: The Final Set
  • Dreamboi
  • Shelter
  • When the Mind's Free
  • Stronger Together
  • Are You Afraid of the '90s?
  • Liminal
  • Four Girls
  • Possible Days - Trilogy on Tenderness
  • Rita Moreira: chronicles, memories and videotape
  • Me Niego Rotundamente
  • Lo Noy
  • Bombacha
  • Amor Trava
  • Man I Love (The)
  • Loves Company
  • Our Colors Never Fade
  • Mayflies
  • Tracy & Martina: Goin' Out West
  • Test
  • Portrait of the Father at 71
  • What we did in the Shadows
  • Teenage Sex and Death at Camp Miasma
  • Movement Song
  • My Name
  • Miss You, Love You
  • Twice the Beast
  • Two Weeks In
  • Umjolo: There Is No Cure
  • Barefoot Boy
  • New Fears Eve
  • In the Grey

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.