Fireworks Logo

Trailers...

  • Ladybug
  • Jessica Fostekew: Wench
  • Qaid: No Wayyy Out
  • Cris Miró (Ella)
  • Happy Greetings
  • Lethal Love Affair
  • Love - am Ende zählst du
  • Luciano
  • Silent Sparks
  • Surf on, Europe!
  • Off Shoot
  • All We Ever Wanted
  • Carbon & Water
  • Birth of the Death of God (The)
  • Boy in a Dress: A Documentary
  • Mud Key
  • Herejes (Los)
  • Beautiful Evening, Beautiful Day
  • Cara Connors: Straight for Pay
  • Cupido confuso
  • Diamonds
  • Dreams
  • Edipo esclavo
  • French Girl
  • I Have to Die Every Night
  • Love Kills
  • My Summer with Irene
  • For Boys
  • Tripoli/A Tale of Three Cities
  • Family Album
  • Another Summer Holiday
  • Boy with Pink Trousers (The)
  • Clear Nights
  • Cranko
  • Eric
  • Mr. Sleepy
  • Prodigy (The)
  • Pink Lady
  • I Am Not Big Bird
  • Life and Death of Lily Savage (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.