http://www.thefilmatlas.com/home daily 1.0 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/602955855260dd04bdfd6b80/1613321667492/Varda%2BCover_EM.jpg Home https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c85c7b56e9a7f5d42588516/1612796654776/CLUELESS%2Bcopy.jpg Home https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60295479703f6d79d1e6ade3/1613321346419/PS_Still005.jpg Home https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6021534ac3c6ba00bb801a03/1612796754059/Oceans%2B8_Team.jpg Home https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c85ca7471c10b0a7ca38404/1552328443678/TFA%2BCOVER%2B1%2Bcopy.jpg Home - Archives Take a look back at Issue 1 of The Film Atlas here. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/60295386b40e3b465a45334e/1613321128266/Varda7.jpg Home - A Time to Glean By Daniele Iannucci https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/602951f98fbf75670558c714/1613320892432/lebonheur_1.jpg Home - A Summer Peach With a Worm at its Centre By Meghan King https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/6029518892b183086c077d02/1613320865767/Hind+by+Ivan.jpg Home - Hind Meddeb: Empathy and Documentary Cinema By Genevieve Citron https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/60295173c8675b2d01012e34/1613320838462/varda_Patatutopia.jpg Home - Notes on Agnès Varda’s Relationship to Her Own Image By Sophia Larigakis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/6029516fdd82da0ae9034bcd/1613320761397/Birkin.jpg Home - “Maybe it’s a mirror”: Varda and Birkin in 1987 By Matt Hoffman https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/6029516417c3a83420e348a4/1613320920993/cleo.jpg Home - Agnès Varda: Feminist Auteur By Charlotte Butler https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/60295159b833c969be2a32c3/1613320998614/Beaches+of+Agnes.jpg Home - The Beach Bodies of Agnès Varda By Jeremy Schipper https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c85d655652dea6737e95bc1/6029514ea96a832742954a3e/1613320967295/Cropped+-IFFR%2B2019.jpg Home - 10 Questions With Writer and Curator Kiva Reardon on Agnès Varda By The Film Atlas Staff https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5bd765e4652dea5acd45b235/1552328451719/ Home - Our Artists We love our artists. Don’t you? Read more about the creatives we work with here. http://www.thefilmatlas.com/submissions daily 0.75 2019-12-08 http://www.thefilmatlas.com/contact daily 0.75 2021-02-08 http://www.thefilmatlas.com/about daily 0.75 2021-02-15 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59ea30b3bce1766a66688e96/1508520634226/unnamed.jpg About Issue 1’s cover art is by Toronto based artist, Aleeza Yermus. Visit aleezayermuscreations.weebly.com for more of her work. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6021548ed96df944d8b48123/1612829582970/Varda+Cover_EM+white+background.png About Issue 3’s cover art is by Toronto based artist, Elena Mari. Visit instagram.com/elenamari for more of her work. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c85867571c10b0a7ca09afa/1612797215268/Picture2+copy.png About Issue 2’s cover art is by London based artist, Micaela Dixon. Visit www.mclmood.me for more of her work. http://www.thefilmatlas.com/support daily 0.75 2019-12-09 http://www.thefilmatlas.com/issue-1 daily 0.75 2019-01-11 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c34059e40ec9a9a46990be8/1557076339719/unnamed.jpg Issue 1 “In a triumphant conclusion, the woman dances swiftly across the frame. Ikwé’s final sequence releases its subject to move beyond the limits of her own singular form, as her ‘real’ body is trailed by the unified specters of her ancestral collective memory.” — Jacqueline Halloran Cooper https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c34009e88251ba3e309d852/1557076339706/06_King%252B1%252Bcopy.jpg Issue 1 "If you take your doses of 1930s cinema intravenously and have a frenzied addiction to hardcore glamour, you'll know who actress Kay Francis is." — Meghan King https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c3400f81ae6cffd19f60829/1557076339708/unnamed-1.jpg Issue 1 “And as women, we have to be aware of anything that can make us seem insane, even if it is completely 100% justified, because it can and will be used against us, and fused to our reputation for the rest of our psychotic, period bearing lives.” — Sam Doll https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c33ffab70a6ad0ce762b25f/1557076339699/03_Elder%252B1%252Bcopy.jpg Issue 1 "Her expression is serious, almost gaunt, and her hair is much darker and cropped. Her posture is uncomfortable displayed against the austere background where she has been placed. At times, Knox is wary of the camera, regarding it tentatively or struggling for words. At other times, she is deliberate, almost exasperated, as she articulates her story." — Katie Elder https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c340415352f5388499b81f2/1557076339711/Virginia%252BCharacter%252B1.jpg Issue 1 “Virginia’s limiting and even complete removal of player control in its pervasive use of filmic language disarm the player […] supporting the subaltern character’s autonomy. This is perhaps Virginia’s greatest subversion of hegemony: rendering the player subordinate to the character — the control of which they may take for granted.” — David Leblanc https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c340007758d468cebdc13ec/1557076339703/04_Citron%252B1.jpg Issue 1 “Archer’s Malory is the antidote to the ‘femme fatale turned femme ordinary’ characters of these romantic comedies. Malory refuses to beg pardon for her behaviour and allows herself to be driven by her needs, desires, and neurosis.” — Genevieve Citron https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c33fe142b6a28d3df654f7a/1557076339693/ Issue 1 "I don't think there are any tricks to portraying females, I just want to portray them honestly." — Director Emma Higgins https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c340554032be40b1b857231/1557076339716/GONE%252BGIRL%252B3.jpg Issue 1 "The film oscillates between positioning Amy as a victim and as a conniving and malicious partner. Initially depicted as the 'cool girl' who is smart, sexually adventurous, and relaxed in her marriage to Nick, Amy is transformed -- in a sense tamed -- into a submissive and needy wife." — Pam Austin https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c38cd331ae6cf3751db671c/1557076339721/unnamed.jpg Issue 1 Click here to view Issue 1 in print. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c33fe818985832853d1f709/1557076339697/Under%252Bthe%252BSkin_01.jpg Issue 1 "Gender may not be 'real,' but the experience of being treated 'female' in a society that declares us several degrees of inferior is hyper-real, vivid, visceral." — Sophia Larigakis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c340497352f5388499b888b/1557076339714/KILL%252BBILL%252B1.jpg Issue 1 “Here, Tarantino perpetuates a problem endemic to our own cultural understanding of violence against women; that if perpetrated by a ‘redeemable’ man, an assault is not an intrinsically immoral act, but rather, a misstep.” — Keara Campos http://www.thefilmatlas.com/kill-bill-tom-dick-and-harry daily 0.75 2017-11-13 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de016690bade47f131b202/1507721583198/KILL+BILL+3.jpg Kill Bill, Tom, Dick, and Harry Kill Bill: Volume 2. Dir Quentin Tarantino. 2004. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de04014c0dbf3d61b11d58/1507722247703/KILL+BILL+1.jpg Kill Bill, Tom, Dick, and Harry Kill Bill: Volume 1. Dir Quentin Tarantino. 2003. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de04813e00be15fdb76282/59de04a92278e7759dc068bd/1507891927999/Screen+Shot+2017-07-10+at+6.48.27+PM.png Kill Bill, Tom, Dick, and Harry - Be Bold: An Interview With Filmmaker & Feminist Emma Higgins | By The Film Atlas Staff https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de04813e00be15fdb76282/59de04816f4ca380969dde34/1507724714336/unnamed-1.png Kill Bill, Tom, Dick, and Harry - The Cost of a Good Cry: A Meditative Reflection on Femininity and Power | By Sam Yoannou The Cost of a Good Cry: A Meditative Reflection on Femininity and Power | By Sam Yoannou https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de0121017db238d49932cf/1507721532528/KILL+BILL+2.jpg Kill Bill, Tom, Dick, and Harry Kill Bill: Volume 1. Dir Quentin Tarantino. 2003. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de07b18a02c7c5dea9e605/1507723186280/09_Campos+1+copy.png Kill Bill, Tom, Dick, and Harry http://www.thefilmatlas.com/the-cost-of-a-good-cry-a-meditative-reflection-on-femininity-and-power daily 0.75 2019-03-31 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de0b1b9f7456184855c454/59de0b29268b96261dbd33a7/1553999104082/Screen+Shot+2017-07-10+at+6.48.27+PM.png The Cost of a Good Cry: A Meditative Reflection on Femininity and Power - Be Bold: An Interview with Filmmaker & Feminist Emma Higgins https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de0b1b9f7456184855c454/59de0b1bbebafb7a8adda1ed/1553999097473/04_Citron+1.png The Cost of a Good Cry: A Meditative Reflection on Femininity and Power - Malory Archer: Mad Femme Spy Executive of Tomorrow https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de0830e45a7c496fd8029f/1507723331406/unnamed-1.png The Cost of a Good Cry: A Meditative Reflection on Femininity and Power CRYHARD. Dir Sam Yoannou. 2015. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de086d8dd041bee69bc173/1507723399208/unnamed-3.png The Cost of a Good Cry: A Meditative Reflection on Femininity and Power CRYHARD. Dir Sam Yoannou. 2015. http://www.thefilmatlas.com/the-life-and-times-of-kay-francis daily 0.75 2019-01-10 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de1591be42d65b5b12f40a/1507726769180/06_King+1+copy.png The Life and Times of Kay Francis Wonder Bar. Dir. Lloyd Bacon, Busby Berkeley. 1934. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de16248dd041bee69c32a5/1507726901579/06_King+2+copy.jpg The Life and Times of Kay Francis Jewel Robbery. Dir. William Dieterle. 1932. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de16b8d2b8572ff2c2c788/59de16ca8419c208bc30d02b/1507892196327/03_Elder+1.png The Life and Times of Kay Francis - “It’s in the Eyes” https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de16b8d2b8572ff2c2c788/59de16b92278e7759dc0fcfb/1507892186058/04_Citron+1.png The Life and Times of Kay Francis - Mallory Archer: Mad Femme Spy Executive of Tomorrow http://www.thefilmatlas.com/reservoirs-of-embodied-memories-in-ikw daily 0.75 2017-11-13 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de1903e45a7c496fd89444/1507727627123/unnamed.gif Reservoirs of Embodied Memories in Ikwé Ikwé. Dir. Caroline Monnet. 2009 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de19d129f187ed8e646944/5ae1aaa3aa4a9989a3444758/1524738745361/KILL%2BBILL%2B1+2.jpg Reservoirs of Embodied Memories in Ikwé - Kill Bill, Tom, Dick, and Harry https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de19d129f187ed8e646944/59f0b5c6ace864141c578f09/1508947414571/Under+the+Skin_01.jpg Reservoirs of Embodied Memories in Ikwé - The Future is Female* http://www.thefilmatlas.com/be-bold-an-interview-with-filmmaker-feminist-emma-higgins daily 0.75 2019-03-08 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de1b29d55b41bc94ad9ad7/1507728185197/unnamed.jpg Be Bold: An Interview with Filmmaker & Feminist Emma Higgins Director Emma Higgins https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de1d5d8419c208bc3112f3/59e09b94f5e231eea5456538/1507892156271/04_Citron+1.png Be Bold: An Interview with Filmmaker & Feminist Emma Higgins - Malory Archer: Mad Femme Spy Executive of Tomorrow https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de1d5d8419c208bc3112f3/59de1d62e9bfdf3c309fcd7b/1507892053942/06_King+1+copy.png Be Bold: An Interview with Filmmaker & Feminist Emma Higgins - The Life and Times of Kay Francis http://www.thefilmatlas.com/the-future-is-female-on-queer-futures-and-alien-transcendence-in-science-fiction-cinema-and-beyond daily 0.75 2018-11-09 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de22e0f43b553182716c67/5a30051a9140b731554a6f66/1513096491897/Virginia+Character+1.png The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond - Player 1 Disconnected https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de22e0f43b553182716c67/59de22e780bd5ee9087777e4/1507891787130/GONE+GIRL+3.jpg The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond - Marriage as Marxist Perversion https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59f0b4dccd39c35cc56ed40a/1508947173674/Under+the+Skin_03.jpg The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond Under the Skin. Dir. Jonathan Glazer. 2013. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59f0b503692ebeeea56cb516/1508947211089/Her_01.jpg The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond Her. Dir. Spike Jonze. 2013. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59f0b49af09ca4d4adad1379/1508947108643/Under+the+Skin_01.jpg The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond Under the Skin. Dir. Jonathan Glazer. 2013. http://www.thefilmatlas.com/its-in-the-eyes-constructed-value-of-the-feminine-gaze-in-amanda-knox daily 0.75 2019-03-31 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de34f58dd041bee69dabb8/5ae1aae1575d1fed55025f5b/1524738804008/KILL%2BBILL%2B1+2.jpg “It’s in the Eyes”: Constructed Value of the Feminine Gaze in Amanda Knox - Kill Bill, Tom, Dick, and Harry https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de34f58dd041bee69dabb8/59de34f6be42d65b5b147a21/1507734843327/CM_IKWE_thumb_web__small_07.gif “It’s in the Eyes”: Constructed Value of the Feminine Gaze in Amanda Knox - Reservoirs of Embodied Memories in Ikwé https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de342df14aa12bb1871981/1507734589994/03_Elder+1+copy.png “It’s in the Eyes”: Constructed Value of the Feminine Gaze in Amanda Knox Amanda Knox. Dir. Rod Blackhurst, Brian McGinn. Netflix, 2016. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de3463cd0f68e1a978b703/1507734655913/Screen-Shot-2016-10-03-at-7.07.58-PM-1475536115-640x326.png “It’s in the Eyes”: Constructed Value of the Feminine Gaze in Amanda Knox Amanda Knox. Dir. Rod Blackhurst, Brian McGinn. Netflix, 2016. http://www.thefilmatlas.com/malory-archer-mad-femme-spy-executive-of-tomorrow daily 0.75 2018-10-02 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de2f00f14aa12bb186cfd5/1507733270547/Malory.png Malory Archer: Mad Femme Spy Executive of Tomorrow Archer. Dir. Adam Reed. FX. 2009-17. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de2f92f43b553182721109/59f0b5f490bccef703dae1fd/1508947457440/Under+the+Skin_01.jpg Malory Archer: Mad Femme Spy Executive of Tomorrow - The Future is Female* https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59de2f92f43b553182721109/59de2f9229f187ed8e657119/1507892296203/03_Elder+1+copy.png Malory Archer: Mad Femme Spy Executive of Tomorrow - “It’s in the Eyes” https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de2e6a8dd041bee69d4bda/1507733120733/Screen+Shot+2017-05-15+at+5.02.33+PM.png Malory Archer: Mad Femme Spy Executive of Tomorrow Archer. Dir. Adam Reed. FX. 2009-17. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59de2d5a12abd91eb4f58f00/1507732871343/04_Citron+1.png Malory Archer: Mad Femme Spy Executive of Tomorrow Archer. Dir. Adam Reed. FX. 2009-17. http://www.thefilmatlas.com/player-1-disconnected-exploring-virtual-sites-of-subatlern-agency-in-virginia daily 0.75 2017-12-12 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59e097011f318d21e6eb7664/59f0b595e45a7c7477eaaff7/1508947369665/Under+the+Skin_01.jpg Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia - The Future is Female* https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59e097011f318d21e6eb7664/59e0971437c58166361bc72d/1508103059520/GONE+GIRL+3.jpg Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia - Marriage as Marxist Perversion https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e3bb9f914e6b07119d3433/1508099139204/unnamed-1.png Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia Fig 2. Comparative shots of cult/ritual scenes in Eyes Wide Shut (top) and Virginia (bottom). https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5a30077e41920204e48f74dc/1513097114098/Virginia+Character+1.png Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5a30074441920204e48f6898/1513097079533/Virginia+Character+2.png Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia Virginia. Variable State. Publisher 505 Games. 2016. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e3bb61d55b41421a4c222c/1508099154617/unnamed.png Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia Fig 1. Comparative shots of opening montage tableau from Twin Peaks (top) and early scene from Virginia (bottom). https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e3bbfe4c0dbf18791466c5/1508099146677/unnamed-2.png Player 1 Disconnected: Exploring Virtual Sites of Subatlern Agency in Virginia Fig 3. Comparative shots highlighting the cabaret singer in scenes from Blue Velvet (top) Virginia (middle) and Twin Peaks (bottom). http://www.thefilmatlas.com/marriage-as-marxist-perversion-manipulation-and-control-in-david-finchers-gone-girl daily 0.75 2017-11-13 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59e0996e03596e334dd45113/5a300561c83025b826148a5b/1513096563322/Virginia+Character+2.png Marriage as Marxist Perversion: Manipulation and Control in David Fincher’s Gone Girl - Player 1 Disconnected https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/59e0996e03596e334dd45113/59e099a137c58166361bd844/1507891837729/CM_IKWE_thumb_web__small_07.gif Marriage as Marxist Perversion: Manipulation and Control in David Fincher’s Gone Girl - Reservoirs of Embodied Memories in Ikwé https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e098381f318d21e6eb7e92/1507891312768/GONE+GIRL+3.jpg Marriage as Marxist Perversion: Manipulation and Control in David Fincher’s Gone Girl Gone Girl. Dir. David Fincher. 2014. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e0990a914e6b0327d69c66/1507891498492/GONE+GIRL+2.jpg Marriage as Marxist Perversion: Manipulation and Control in David Fincher’s Gone Girl Gone Girl. Dir. David Fincher. 2014. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/59e098bbe3df287c5804ebd1/1507891409113/GONE+GIRL+1.jpg Marriage as Marxist Perversion: Manipulation and Control in David Fincher’s Gone Girl Gone Girl. Dir. David Fincher. 2014. http://www.thefilmatlas.com/home-1 daily 0.75 2016-09-12 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5b3ba1542b6a2842ce11e3ea/1473889882769/16.jpg Home http://www.thefilmatlas.com/about-1 daily 0.75 2018-07-03 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5b3ba42b03ce649caa36026a/1530635354205/TFA+COVER+1.jpg About TFA's cover art is by Toronto based artist, Aleeza Yermus. Visit aleezayermuscreations.weebly.com for more of her work. http://www.thefilmatlas.com/one-persons-blackmail-is-another-persons-love-story daily 0.75 2019-04-02 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be611f340ec9a081f762844/5c855584e79c70c1495f5796/1552242083282/dixon+copy.jpeg “One Person’s Blackmail is Another Person’s Love Story” - "TIME'S UP": 30 Years of Equity? https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be611f340ec9a081f762844/5be61262aa4a9973dc205f9c/1552242096242/You+were+never+really+here.jpg “One Person’s Blackmail is Another Person’s Love Story” - Boundaries of the Image Boundaries of the Image https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be60f3e6d2a73d0d4270a8e/1541803936744/RossandRachel2.jpg “One Person’s Blackmail is Another Person’s Love Story” Friends. Perf. Jennifer Aniston and David Schwimmer. 1994-2004. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be607ee4ae23774594c4e70/1541802004774/noahandallie1.jpg “One Person’s Blackmail is Another Person’s Love Story” The Notebook. Dir. Nick Cassavetes. 2004. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be6115d1ae6cf9ef7a78f06/1541804482190/Crazyex2.jpg “One Person’s Blackmail is Another Person’s Love Story” Crazy Ex-Girlfriend. Dir. Rachel Bloom. 2015-2018. Television. http://www.thefilmatlas.com/our-mothers-ourselves-the-outsourcing-of-selfcare-and-genderbending-of-genre-in-tully daily 0.75 2019-04-01 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be6046721c67ce6f1964d79/1541801076307/Tully+3.jpg Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully Tully. Dir. Jason Reitman. 2018. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be603cd4fa51a083f36d1f3/1541800946129/Tully2.jpg Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully Tully. Dir. Jason Reitman. 2018. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be602bc352f5308e3779e11/1541800680859/Tully1.jpg Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully Tully. Dir. Jason Reitman. 2018. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be60551562fa74a87d4b3ae/5c8084b7652deac5c91cadab/1551975514368/Waltz1.jpg Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully - Recalling the Past: The Dynamics of Empathy in Waltz with Bashir https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be60551562fa74a87d4b3ae/5be60659562fa74a87d4c50e/1541866917380/noahandallie1.jpg Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully - "One person's blackmail is another person's love story" "One person's blackmail is another person's love story" http://www.thefilmatlas.com/the-arbitrary-nature-of-what-defines-a-career-ending-scandal-ft-roseanne-barr daily 0.75 2019-03-11 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be8b81988251b96c32c0c64/5c85574215fcc08f42b477f8/1552242563979/hellodestroyer_01.jpg The Arbitrary Nature Of What Defines A Career Ending Scandal, Ft. Roseanne Barr - Talking Canadian Film with Director Kevan Funk https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be8b81988251b96c32c0c64/5be8b8812b6a281d5afa69d4/1552242447501/Tully1.jpg The Arbitrary Nature Of What Defines A Career Ending Scandal, Ft. Roseanne Barr - Our Mothers, Ourselves https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5be85a3bf950b776709598a8/1541954191732/roseanne1.jpg The Arbitrary Nature Of What Defines A Career Ending Scandal, Ft. Roseanne Barr Roseanne. Perf. Roseanne Barr, John Goodman. 1988-2018. Television. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5be8b97b8a922d4a2919522e/5be8c271cd8366853da78d97/1541980939465/3.png The Arbitrary Nature Of What Defines A Career Ending Scandal, Ft. Roseanne Barr - The Cost of a Good Cry The Cost of a Good Cry: A Meditative Reflection on Femininity and Power http://www.thefilmatlas.com/bloodshed-in-suburbia daily 0.75 2019-04-02 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5bf98e04352f534626cc211a/1543081527317/safestillcover.jpg Bloodshed in Suburbia Safe. Dir. Todd Haynes. 1995. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5bf98f3b352f534626cc3054/5bf98f3bcd8366a6d9f8e4a5/1543081827014/Under%2Bthe%2BSkin_01.jpg Bloodshed in Suburbia - The Future is Female* https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5bf9928d21c67c5581e9f7ed/1543082663019/safestill2.jpg Bloodshed in Suburbia Safe. Dir. Todd Haynes. 1995. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5bf98f92c2241bd501057b8d/5c8558cbf9619a8b162ca06b/1552242926083/Tully1.jpg Bloodshed in Suburbia - Our Mothers, Ourselves https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5bf98f92c2241bd501057b8d/5bf98f930ebbe88c33978b87/1551993122661/You+were+never+really+here.jpg Bloodshed in Suburbia - Boundaries of the Image http://www.thefilmatlas.com/the-edge-of-faith-negotiating-the-boundaries-of-religious-identity-in-pawel-pawlikowskis-ida daily 0.75 2019-03-11 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c30e381575d1f6be27878aa/5c8189b29140b7a51c6b1ed4/1551993304539/roseanne1.jpg The Edge of Faith: Negotiating the Boundaries of Religious Identity in Pawel Pawlikowski’s Ida - The Arbitrary Nature of What Defines a Career Ending Scandal https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c30e381575d1f6be27878aa/5c30e39270a6adec3ecc470a/1552241738095/safestill2.jpg The Edge of Faith: Negotiating the Boundaries of Religious Identity in Pawel Pawlikowski’s Ida - Bloodshed in Suburbia https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c301f1bb8a0455ef9b9ae9a/1546657574009/ida3.jpg The Edge of Faith: Negotiating the Boundaries of Religious Identity in Pawel Pawlikowski’s Ida Ida. Dir. Paweł Pawlikowski. 2013. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c301ea4b8a0455ef9b9a8ac/1546657462441/IDA.jpg The Edge of Faith: Negotiating the Boundaries of Religious Identity in Pawel Pawlikowski’s Ida Ida. Dir. Paweł Pawlikowski. 2013. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c266b48758d46b518b83103/1546021726021/Ida1.jpg The Edge of Faith: Negotiating the Boundaries of Religious Identity in Pawel Pawlikowski’s Ida Ida. Dir. Paweł Pawlikowski. 2013. Film. http://www.thefilmatlas.com/our-artists daily 0.75 2019-12-08 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ded66331704ea192021b038/5ded6645af06d83e3e54c660/1575839305168/elena_5.JPG Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ded66331704ea192021b038/5ded6640af06d83e3e54c5ee/1575839437998/elena_4.JPG Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ded66331704ea192021b038/5ded663fe46e2d0693bf597d/1575839297780/elena_3.JPG Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ded66331704ea192021b038/5ded66379778c378d7ce6aff/1575839298167/elena_2.JPG Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c316e28c2241ba8a7081e8c/1546743359232/Picture2.png Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31723a758d467874769564/5c31764c8a922d5822948c8b/1546911012431/IMG_6528.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31723a758d467874769564/5c3172cb0ebbe80a25790dbd/1546910986355/fullsizerender-4_orig.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31723a758d467874769564/5c31723bb8a0455ef9c648d2/1546910992135/1466204_orig.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31723a758d467874769564/5c31723b562fa7a26ece7dc2/1546910996681/5608895.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31723a758d467874769564/5c31723a8a922d58229460c9/1546911007134/8514892.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31704b4ae23783edb49ef9/5c31761c4fa51ae3f533ae8c/1546745385087/TFA2_Cover_No+Text.png Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31704b4ae23783edb49ef9/5c31704baa4a99548f7cbf87/1546743886959/00320001.JPG+copy.jpeg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31704b4ae23783edb49ef9/5c31704b70a6adec3ed2ca1d/1546743886405/0-2.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31704b4ae23783edb49ef9/5c31704bcd83665593420d7c/1546743885764/0-1.jpg Our Artists https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c31704b4ae23783edb49ef9/5c31704b032be4fbaf288895/1546743909936/0.jpg Our Artists - Micaela Dixon https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c316e56562fa7a26ece5a79/1546743385445/TFA+COVER+1.jpg Our Artists http://www.thefilmatlas.com/issue-2 daily 0.75 2019-03-28 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32d38903ce64e8bf28b217/1552139387802/TFA_Back%2BCover.jpg Issue 2 Our idea with the second issue of The Film Atlas was to encourage discussion around barriers, be them positive or negative, both on and off screen. Accordingly, Issue 2: Boundaries, speaks to the encounter of limits and film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32cf4d562fa7a26edced01/1552275653722/You%2Bwere%2Bnever%2Breally%2Bhere.jpg Issue 2 “Ramsay’s depictions are inconsistent with the typical action flick’s tendency to celebrate violence. When Superman suckerpunches a villain or James Bond fires his gun, violence is heroic, used to promote the greater good. Conversely You Were Never Really Here refuses to glorify aggression on-screen.” — Katie Elder https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32c7bbb8a0455ef9d4a019/1547087054543/Tully1.jpg Issue 2 “Thus, as with puberty, the mother explores a new relation to the self, and to her own identity, as her body and its cycles change with pregnancy and infant caregiving, and re-open these explorations once more with each new child. Hence a scene where Marlo, a groggy alien not only in her own home but in her own skin, sits slumped at the kitchen table, vein-ravaged belly out. Her daughter comments cutely, astutely: ‘Mommy, what’s wrong with your body?’” — Rebecca Alter https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32d271575d1f6be28d1398/1552139429273/roseanne1.jpg Issue 2 “I would call phenomena such as these classic cases of bystander apathy. Is the world actually a better place? Or are we just tricking people into thinking the world is a better place?” — Sam Doll https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c7f4e551905f46e12105f88/1552139407913/dixon.jpg Issue 2 “People should be careful about what they say and how they act. Artistic temperament was always just an excuse for bad behaviour. If someone is being an asshole, they probably are an asshole.” — Jeff Melvin https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32ce10b8a0455ef9d4e8c9/1552241452269/safestill2.jpg Issue 2 “When Carol’s perm is revealed to her at the end of the scene, she is granted only a few seconds of timid appreciation before her nostril pools with vivid dark blood […] The myth of female perfection, dreamily constructed in the beauty salon, is ruptured by the violence of Carol’s nosebleed.” — Sophia Larigakis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c815ecae5e5f04b9a305753/1552275810353/Waltz1.jpg Issue 2 “Ari Folman’s Waltz with Bashir is an autobiographical documentary that chronicles the director’s efforts to uncover repressed memories of his military deployment in the 1982 Lebanon War. Waltz’s animated form literally illustrates this recollective odyssey, as Folman confronts details of the massacre of Palestinian refugees at the Sabra and Shatila camps, which occurred near his military post.” — Genevieve Citron https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32cfb370a6adec3ee069b2/1552139447952/Ida1.jpg Issue 2 “Further, for its relentless use of Catholic iconography in a historically Jewish home, the house itself serves as an allegory for the cleansing of minority groups that overwhelmed Poland during the war, as well as the country’s subsequent homogeneous demographic.” — Taryn Fleischmann https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32c95570a6adec3ee020db/1552275785248/noahandallie1.jpg Issue 2 “The likelihood of a physically abusive man appearing as the romantic hero has (thankfully) decreased with time, but the more subtle manipulative behaviour demonstrated by many of romance’s favourite leading men of recent decades is equally troubling.” — Natalie Moore https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c7df0684192028d9b5ae3ee/1551757427138/Picture2.png Issue 2 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c32d355758d46787484ceac/1552327483583/hello-destroyer-still.jpg Issue 2 “Fight and push for the most distinct, strong, voices that we have. And strong doesn’t mean loudest, it means people who are showing us our world in the most powerful way.” — Kevan Funk http://www.thefilmatlas.com/boundaries-of-the-image-mediated-violence-in-you-were-never-really-here daily 0.75 2019-03-28 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c531f3eaa4a9982d6d4b822/5c531f3e03ce646c81e3b1ea/1548951384564/03_Elder%2B1%2Bcopy.jpg Boundaries of the Image: Mediated Violence in You Were Never Really Here - “It’s in the Eyes” https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c531fb6f950b7d24b035b15/5c8189fb53450a5e7a25c0f8/1552276402142/hellodestroyer_01.jpg Boundaries of the Image: Mediated Violence in You Were Never Really Here - Talking Canadian Film with Director Kevan Funk https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c531fb6f950b7d24b035b15/5c80125d15fcc01b3e0ec3f3/1551992896580/Waltz1.jpg Boundaries of the Image: Mediated Violence in You Were Never Really Here - Recalling the Past: The Dynamics of Empathy https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c531d240ebbe892091e5603/1548951022888/You+were+never+really+here.jpg Boundaries of the Image: Mediated Violence in You Were Never Really Here You Were Never Really Here. Dir. Lynne Ramsay. 2017. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c531caef950b7d24b0331d0/1548951022885/You+were+never+really+here_1.jpg Boundaries of the Image: Mediated Violence in You Were Never Really Here You Were Never Really Here. Dir. Lynne Ramsay. 2017. Film. http://www.thefilmatlas.com/timesup-30-years-of-equity daily 0.75 2019-04-02 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c7f46ede5e5f035147f1db9/5c85580c15fcc08f42b48076/1552242732495/roseanne1.jpg #TimesUp: 30 Years of Equity? - The Arbitrary Nature of What Defines a Career Ending Scandal https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c7f46ede5e5f035147f1db9/5c7f46eee4966b8337d33851/1552243050310/RossandRachel2.jpg #TimesUp: 30 Years of Equity? - "One person's blackmail is another person's love story" https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c7f44896e9a7f44b5a8728f/1551844662096/dixon.jpg #TimesUp: 30 Years of Equity? Micaela Dixon. 2018. Film. http://www.thefilmatlas.com/recalling-the-past-the-dynamics-of-empathy-in-waltz-with-bashir daily 0.75 2021-05-10 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c80103024a6943bea56d212/1551896642315/Waltz2.png Recalling the Past: The Dynamics of Empathy in Waltz with Bashir Waltz with Bashir. Dir. Ari Folman. 2008. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c8010a424a6943bea56d893/5c8010f29b747a5579e1cf96/1552001694120/hellodestroyer_01.jpg Recalling the Past: The Dynamics of Empathy in Waltz with Bashir - Talking Canadian Film and Hello Destroyer with Director Kevan Funk https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c8010a424a6943bea56d893/5c8010a415fcc01b3e0ea8bb/1551896978410/04_Citron%2B1.png Recalling the Past: The Dynamics of Empathy in Waltz with Bashir - Malory Archer: Mad Femme Spy Executive of Tomorrow https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c801324ee6eb021af5d1a74/5c8188c9c83025713ce08fa9/1552276055311/noahandallie1.jpg Recalling the Past: The Dynamics of Empathy in Waltz with Bashir - "One person's blackmail is another person's love story" https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c801324ee6eb021af5d1a74/5c80133115fcc01b3e0ed63f/1551993080019/ida2_7094944.jpg Recalling the Past: The Dynamics of Empathy in Waltz with Bashir - The Edge of Faith https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c815e8a4e17b66aace4f894/1551982229438/Waltz1.jpg Recalling the Past: The Dynamics of Empathy in Waltz with Bashir Waltz with Bashir. Dir. Ari Folman. 2008. Film. http://www.thefilmatlas.com/issue-2-editors-note daily 0.75 2019-03-11 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c81612a15fcc09592ac1f77/1612830709309/hellodestroyer_01.jpg Issue 2 Editor's Note - Talking Canadian Film and Hello Destroyer with Director Kevan Funk An Interview By The Film Atlas Staff https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815ccceb39317d53abae09/1612830709306/You+were+never+really+here.jpg Issue 2 Editor's Note - Boundaries of the Image: Mediated Violence in You Were Never Really Here By Katie Elder https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815c5fe2c483d932ac0add/1612830709291/dixon+copy.jpeg Issue 2 Editor's Note - "TIME’S UP": 30 Years of Equity? A Reflection on Inclusivity in the Film Industry By Jeff Melvin https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815bedf9619afce26fad1e/1612830709300/roseanne1.jpg Issue 2 Editor's Note - The Arbitrary Nature of What Defines a Career Ending Scandal, Feat. Roseanne Barr By Sam Doll https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815be4ec212d711747f561/1612830709288/Ida1.jpg Issue 2 Editor's Note - The Edge of Faith: Negotiating the Boundaries of Religious Identity in Paweł Pawlikowski’s Ida By Taryn Fleischmann https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815bd324a69435e16aa2c8/1612830709283/noahandallie1.jpg Issue 2 Editor's Note - “One Person’s Blackmail is Another Person’s Love Story”: Violation of Boundaries as On-Screen Romance By Natalie Moore https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815bca8165f55a35bf000c/1612830709297/safestillcover.jpg Issue 2 Editor's Note - Bloodshed in Suburbia By Sophia Larigakis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815baff4e1fcb0395106ea/1612830709303/Waltz1.jpg Issue 2 Editor's Note - Recalling the Past: The Dynamics of Empathy in Waltz with Bashir By Genevieve Citron https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c815baaec212d711747f13c/5c815baa419202f922eea074/1612830709294/Tully1.jpg Issue 2 Editor's Note - Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully By Rebecca Alter https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c815a4afa0d604eed6b685f/1612830709279/TFA_Back+Cover.jpg Issue 2 Editor's Note Micaela Dixon. 2018. Film. http://www.thefilmatlas.com/talking-canadian-film-and-hello-destroyer-with-director-kevan-funk daily 0.75 2019-03-23 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c8184a0b208fc530a54894e/1551991971489/HelloDestroyer_Still_06.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk Hello Destroyer. Dir. Kevan Funk. 2016. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c8186329140b7a51c6ad77b/5c81863a0d929761af02b18a/1552272350023/Tully1.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk - Our Mothers, Ourselves https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5c8186329140b7a51c6ad77b/5c818632e5e5f04b9a32a3e9/1552241622875/dixon+copy.jpeg Talking Canadian Film and Hello Destroyer with Director Kevan Funk - "TIME’S UP": 30 Years of Equity? https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c8184519b747a7918adb090/1551991896188/HelloDestroyer_Still_04.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk Hello Destroyer. Dir. Kevan Funk. 2016. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c816f91c83025d966ef5a13/1551986628688/hellodestroyer_01.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk Hello Destroyer. Dir. Kevan Funk. 2016. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c8184281905f466824ff009/1551991866914/HelloDestroyer_Still_07.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk Hello Destroyer. Dir. Kevan Funk. 2016. Film. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5c818577e79c70ddf3b17c06/1551992192262/HelloDestroyer_Still_10.jpg Talking Canadian Film and Hello Destroyer with Director Kevan Funk Hello Destroyer. Dir. Kevan Funk. 2016. Film. http://www.thefilmatlas.com/a-summer-peach-with-a-worm-at-its-centre daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf188871c10b7dac2e8b13/1557076108619/lebonheur_1.jpg A Summer Peach With a Worm at its Centre Le Bonheur. Dir. Agnès Varda. 1965. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf1925eb3931597f95d011/1557076276039/lebonheur3.jpg A Summer Peach With a Worm at its Centre Le Bonheur. Dir. Agnès Varda. 1965. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ccf156590e5120001ee1e55/5ccf15666e9a7f37d5307121/1557075447308/06_King%2B1%2Bcopy.jpg A Summer Peach With a Worm at its Centre - The Life and Times of Kay Francis The Life and Times of Kay Francis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ccf1625ee6eb05834621ebb/5ccf16a2a4222f281f7be741/1557075722619/Gone+Girl2.jpeg A Summer Peach With a Worm at its Centre - Marriage as Marxist Perversion Marriage as Marxist Perversion https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ccf1625ee6eb05834621ebb/5ccf16256e9a7f37d5307784/1572647046836/0.png A Summer Peach With a Worm at its Centre - “Maybe it’s a mirror”: Varda and Birkin in 1987 “Maybe it’s a mirror”: Varda and Birkin in 1987 http://www.thefilmatlas.com/issue-3 daily 0.75 2021-02-16 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60214c0dbf0d3b2344583d90/1613239352787/Varda+Cover_EM+copy.png Issue 3: To Varda Elena Mari. 2020. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf29c251e58c0001f14310/1613318928653/gleaners1.jpg Issue 3: To Varda “In the case of Gleaners, Varda uses the film to investigate something we purposefully step over, and sometimes lack the humility to see: our own impermanence.”— Daniel Iannucci https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5fc3c60df3de5e49b5d78f9b/1613263674287/IFFR%2B2019.jpg Issue 3: To Varda “I think a lot about collaboration and empathy in film, both in the art form and the industry. Varda's work, in practice and in how she made her films, exemplifies this.” — Kiva Reardon https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf2431a59499000178d8cb/1613263653722/unnamed.jpg Issue 3: To Varda "Through her use of mirroring and costume, Varda creates a space for Birkin to explore her deepest artistic desires. Birkin, the auteur, is confronted by circumstance. She overflows with ideas, wit, and mystery. Perhaps, it is only for the achingly humane Varda that Birkin can create two portraits that thrive, challenge, and captivate.” — Matt Hoffman https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6028128eaf6ce636747dfb97/1613485306373/Beaches%2Bof%2BAgnes.jpg Issue 3: To Varda “For those wishing to pay their last respects to the filmmaker who are unable to visit her at her final resting place in Montparnasse, they would do just as well to pack their bags and head out for an afternoon at the beach.'“ — Jeremy Schipper https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf1cfb90e5120001ee5806/1613263643797/Varda_potatoes.jpg Issue 3: To Varda "Shrouded in plums or polka dots, Agnes Varda knowingly invites comparisons to kooky grandmothers. Her hair—often a ring of purple around a perfect circle of white, other times a dollop of magenta—is perpetually, resiliently curled under in a bowl cut—a style she chose at the age of 19 and never diverged from, not even in her 90th, and final year around the sun.” — Sophia Larigakis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6028134fa41dba2a288fc2f5/1613318885427/Hind%2Bby%2BIvan_pyramid.jpg Issue 3: To Varda “The beauty of documentaries is not about knowing what you’re going to bring back. It’s about being open to listen and open to surprise” — Hind Meddeb https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf267c0092d30001dcf2b1/1613319050934/cleo5a7.jpg Issue 3: To Varda “Through her method, Varda does away with dominant ways of “seeing” in pursuit of a diverse, eclectic vision of what it means to be a woman.” — Charlotte Butler https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5cd1c6e50d92977afc361742/1613263636609/lebonheur_1.jpg Issue 3: To Varda "Fall’s coolness will mottle the psychedelic starbursts of Thérèse’s summer days into kindling earthen tones, but otherwise, all is exactly as before. François’ happiness may waver for a moment, but it never diminishes, his only need an amiable and pliant wife by his side, in his bed. Perhaps any might do.” — Meghan King http://www.thefilmatlas.com/maybe-its-a-mirror-varda-and-birkin-in-1987 daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ccf21ade4966b5894b8ae02/5ccf21e01905f41dbcbcec07/1612742754847/Tully1.jpg “Maybe it’s a mirror”: Varda and Birkin in 1987 - Our Mothers, Ourselves Our Mothers, Ourselves https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5ccf21ade4966b5894b8ae02/5ccf21ae0d9297770eb4f866/1612742747184/Varda_potatoes.jpg “Maybe it’s a mirror”: Varda and Birkin in 1987 - Notes on Agnes Varda’s Relationship to Her Own Image Notes on Agnes Varda’s Relationship to Her Own Image https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ccf235ce5e5f08d2c8c9315/1606667219834/unnamed.jpg “Maybe it’s a mirror”: Varda and Birkin in 1987 Jane B. Par Agnès V. Dir. Agnès Varda. 1988. http://www.thefilmatlas.com/notes-on-agnes-vardas-relationship-to-her-own-image daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5cd082a66e220a0001bfd92e/1612747050435/varda_Patatutopia.jpg Notes on Agnes Varda’s Relationship to Her Own Image Patatutopia. Dir. Agnès Varda. 2003. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5cd083f96e220a0001bfee4f/5cd08425652deaad465ac4d2/1612747050452/06_King%2B1%2Bcopy.jpg Notes on Agnes Varda’s Relationship to Her Own Image - The Life and Times of Kay Francis The Life and Times of Kay Francis https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5cd083f96e220a0001bfee4f/5cd083f97817f7595ffce9cb/1612747050468/gleaners1.jpg Notes on Agnes Varda’s Relationship to Her Own Image - A Time to Glean A Time to Glean https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5cd1c7391905f4501973628e/1612747050429/Varda_potatoes.jpg Notes on Agnes Varda’s Relationship to Her Own Image Patatutopia. Dir. Agnès Varda. 2003. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5cd082d14e17b639e46993c6/1612747050438/vara_oscars.jpg Notes on Agnes Varda’s Relationship to Her Own Image A cardboard cutout of Agnès Varda at the 2018 Oscar nominee lunch. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5cd08366e2c48347e22a00fa/5cd08389e2c48347e22a0314/1612747050441/safestill2.jpg Notes on Agnes Varda’s Relationship to Her Own Image - Bloodshed in Suburbia Bloodshed in Suburbia https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5cd08366e2c48347e22a00fa/5cd0837608522901f6bd3f00/1612747050447/Under%2Bthe%2BSkin_01.jpg Notes on Agnes Varda’s Relationship to Her Own Image - The Future is Female* The Future is Female* https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5cd0856a4785d3aec89b0ea2/1612747050433/beaches+of+agnes.jpg Notes on Agnes Varda’s Relationship to Her Own Image Beaches of Agnès. Dir. Agnes Varda. 2008. http://www.thefilmatlas.com/a-time-to-glean daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5ded6a3c9778c378d7cef3f8/1575840549492/gleaners1.jpg A Time to Glean The Gleaners and I. Dir. Agnès Varda. 2000. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/602086f7fb20424c24d395ff/6020874bcc03965c07448e0f/1613320092134/IFFR%2B2019.jpg A Time to Glean - 10 Questions With Writer and Curator Kiva Reardon on Agnès Varda 10 Questions With Writer and Curator Kiva Reardon on Agnès Varda https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/602086f7fb20424c24d395ff/602086ff08804c2a8842539c/1613320087046/Schipper.png A Time to Glean - The Beach Bodies of Agnès Varda The Beach Bodies of Agnès Varda http://www.thefilmatlas.com/kivareardononagnesvarda daily 0.75 2021-02-16 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/5fc3dd523570fb44d1799bc6/1606671710403/IFFR%2B2019.jpg 10 Questions Curator Kiva Reardon on Agnès Varda - Kiva Reardon is the founding editor of cléo journal, a journal of film and feminism that ran from 2013 to 2019. She has been the Lead Programmer of Contemporary World Cinema at the Toronto International Film Festival and programs at Hot Docs and Miami Film Festival. She is currently a Film Programmer at the Academy Museum of Motion Pictures in Los Angeles. Reardon, a leading voice in film internationally, is an expert on Agnès Varda. With empathy and presence that mirrors the late director’s, Reardon’s interpretations of Varda’s work is consistently precise yet eye opening. Gracious, sharp, and enthusiastic, Reardon collaborated with us to share her thoughts on Varda’s filmmaking and legacy. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5fc3e6e6cb3e0f5771c8201b/6022adb8a3c4c5454f144eee/1612885529764/varda_Patatutopia.jpg 10 Questions Curator Kiva Reardon on Agnès Varda - Notes on Agnès Varda’s Relationship to Her Own Image Notes on Agnès Varda’s Relationship to Her Own Image https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/5fc3e6e6cb3e0f5771c8201b/5fc3e7457acac6192a38b1ac/1606674288568/lebonheur_1.jpg 10 Questions Curator Kiva Reardon on Agnès Varda - A Summer Peach With a Worm at its Centre A Summer Peach With a Worm at its Centre http://www.thefilmatlas.com/the-beach-bodies-of-agns-varda daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60286c6616348c1f04da97a2/1613262183930/Fig+2+fka+3.png The Beach Bodies of Agnès Varda Figure 2. Body in ocean. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/60207f85fb454231c74c4ede/60207f90cc03965c0743fc9b/1612742630692/vara_oscars.jpg The Beach Bodies of Agnès Varda - Notes on Agnès Varda's Relationship to Her Own Image Notes on Agnès Varda's Relationship to Her Own Image https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/60207f85fb454231c74c4ede/60207f8576128b0db2fc8aab/1612742646557/unnamed.jpg The Beach Bodies of Agnès Varda - “Maybe it’s a mirror”: Varda and Birkin in 1987 “Maybe it’s a mirror”: Varda and Birkin in 1987 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60208481c6429e2b6fcc6585/1612744072485/Beaches+of+Agnes.jpg The Beach Bodies of Agnès Varda The Beaches of Agnès. Dir. Agnès Varda. 2008. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60286b8aee6eb17bd7abd5c0/1613261741627/figure+1.png The Beach Bodies of Agnès Varda Figure 1. Nomadic presentation of the subject in space. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60286c8c400c6f3e5b7d76d3/1613261980692/Fig+3+aka+4.png The Beach Bodies of Agnès Varda Figure 3. Dissolve. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60286cd738834d367d9a4f66/1613262076984/Fig+4+fka+5.png The Beach Bodies of Agnès Varda Figure 4. Collage of filmic and constructed space. http://www.thefilmatlas.com/agns-varda-feminist-auteur daily 0.75 2021-02-14 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6021d690edfe235c98b2f630/1612830439084/cleo.jpg Agnès Varda: Feminist Auteur Cléo de 5 à 7. Dir. Agnes Varda. 1962. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6028067419a3e65ff1785175/1613235890052/Agnes+Varda+filming+Cleo+de+5+a+7.+1962..jpg Agnès Varda: Feminist Auteur Agnès Varda, while filming Cléo de 5 à 7. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/6020912ae50635707dff510f/602092f61d56677838028e9d/1613320146423/Schipper.png Agnès Varda: Feminist Auteur - The Beach Bodies of Agnès Varda The Beach Bodies of Agnès Varda https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/6020912ae50635707dff510f/6020912ae50635707dff5112/1613091376819/gleaners1.jpg Agnès Varda: Feminist Auteur - A Time to Glean A Time to Glean http://www.thefilmatlas.com/hind-meddeb-empathy-and-documentary-cinema daily 0.75 2021-03-15 https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/6028155d14619949046e8207/1613255966741/Hind+by+Ivan_pyramid.jpg Hind Meddeb: Empathy and Documentary Cinema Hind Meddeb. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/602818416179a5175c4a95b4/1613255954793/Hind+by+Ivan.jpg Hind Meddeb: Empathy and Documentary Cinema Hind Meddeb. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/t/60281ac6a41dba2a2890521a/1613241070545/PS_17.50.32.jpg Hind Meddeb: Empathy and Documentary Cinema Souleymane in Paris Stalingrad. Dir. Hind Meddeb. 2019. https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/602816810bf513623e9c5bd5/602817317b99c930e7f5d5ac/1613240291168/IFFR%2B2019.jpg Hind Meddeb: Empathy and Documentary Cinema - 10 Questions on Agnès Varda with Kiva Reardon By The Film Atlas Staff https://static1.squarespace.com/static/578bee59c534a56f8865d1ec/602816810bf513623e9c5bd5/602816820c75ca4f835b58ae/1613240029750/lebonheur_1.jpg Hind Meddeb: Empathy and Documentary Cinema - A Summer Peach With a Worm at its Centre By Meghan King