"To see a character like Lydia Tár onscreen feels both cathartic and thorny."
JoinedApril 20, 2019
Hannah Bonner's essays have been published in VIDA: Women in the Literary Arts, Bustle, and The Little Patuxent Review. Her poetry has appeared, or is forthcoming, in So to Speak, Asheville Poetry Review, The North Carolina Literary Review, Tinderbox Poetry Journal, The Pinch Journal, and Two Peach.
Fuses is a labor of love, but it’s Schneemann’s labor that’s often overlooked; the film isn't solely a “diaristic indulgence"—an accusatory phrase levied by male filmmakers—but an immersive creative experience.
Jane Campion's In the Cut dresses itself up as a neo-noir about a woman who “can contend only against the power of men.” But it’s a film that’s more than meets the eye, or the genre.
Fragmented, discontinuous, and piercingly personal, Cameraperson is a testament to what it means to be open and alive to the variegated voices of our world.
In the images from Sátántangó that still cling to me, I see my mind’s selective memory: its search at work. How the memories of scenes become not a catalogue of the film, but another creation altogether.