Laura Staab

Girls Daydream About Hollywood (1992)

The Girl's Nervy (1995)

Fear of Blushing (2001)

for a new RE:VOIR release, i wrote about how Jennifer Reeves dragged classic cinema and avant-garde heroism through the screwed-up realities of the '90s across three works. they’re nervy, they’re grungy; i love them re-voir.com/shop-films/p...

"I am attracted to things; I think, yes, my films are probably very fetishistic."

spoke with Lucile Hadžihalilović for Notebook 🤍 👑 mubi.com/en/notebook/...

for the weekend crowd >> mubi.com/en/notebook/...

Woodcutters: From the Viennale Masao Adachi and James Benning model an introspective form of political filmmaking, cutting through the dull platitudes of festivalspeak.

“This is what film festivals could be like, Petzold ventured: talking about cinema, talking about wood.”

on the 2025 Viennale, and how the festival and its films orientated themselves in relation to the world, for Notebook mubi.com/en/notebook/posts/woodcutters-from-the-viennale

u can try to outrun yrself ... and u will still find a Haribo Tangfastic stuck to yr shoe (crocodile, green)

u can try to outrun yrself ... and u will still find yrself reading Deleuze's Cinema 2 in Heathrow Terminal 2 💎 🤷

⬇️ a must-read! lareviewofbooks.org/article/maus...

the ice tower 🩵🩵🩵

In Focus: Pia Frankenberg starts /tomorrow/ at the ICA ❕
⛸️ The Assault on 35mm and Ain't Nothin' Without You
🩶 followed by an in-person Q&A with Pia
www.ica.art/frankenberg-...

you can now read @caitlinquinlan.bsky.social's lovely essay on Never Sleep Again, the importance of place to Pia Frankenberg, and a cinema of women walking ❤️ >> ica.art/media/11895.pdf

"In late 1973, she rented two rooms at the Hotel Dante, a seedy joint in North Beach, San Francisco, with Eleanor Coppola ... In their respective rooms, each installed their own work: Hershman Leeson in room 47, Coppola in room 43."

💓 Tess Little on Lynn Hershman Leeson's artworks: "They visit the California Department of Motor Vehicles and submit application forms for driving licences. They meet suitors for dates in San Francisco’s Union Square, wearing blonde wigs and Revlon blush." www.anothergaze.com/woman-viewer...

come to the cinema for Schanelec's minimalist take on melodrama – and my little introduction about that, cinematic Arianes, and an image of happiness – this Saturday >> ica.art/my-sisters-g...

❤️ ⬆️ ⬇️ @sophiasb.bsky.social on Amy Halpern's Falling Lessons, which 'evokes a range of way of seeing and being in the world. We see a baby bottom up and a woman bottom down. In a moment, everything can turn on its head.' 🌀 www.ica.art/media/11715....

www.ica.art/films/schane...

you can catch me waxing lyrical about Angela Schanelec 🤍 🤍 🤍 before My Sister's Good Fortune and Dreamed Path at the ICA in London on Saturday 13 and Tuesday 30 September
ica.art/my-sisters-g...
ica.art/schanelec-th...

serendipitous double bill at the ICA on 23 September: walk Marseille with Maren Eggert and Angela Schanelec, then come back to Cinema 1 in the evening to wander post-reunification Berlin with Pia Frankenberg, Lisa Kreuzer, and co🚶‍♀️💜
ica.art/marseille-on...
ica.art/frankenberg-...

thrilled to confirm Pia Frankenberg will now be joining, in person, for a post-screening Q&A on Friday 19 September! www.ica.art/frankenberg-...

big thanks to Marie Kloos for introducing me to these delightful films, and to the ICA team 🌟

Pia Frankenberg in Ain't Nothin' Without You (1985)

Pia Frankenberg in Burning Beds (1988)

for the ICA, i've programmed a comprehensive retrospective of Pia Frankenberg's charming, irreverent cinema. it plays Friday 19–Tuesday 23 September across three screenings, contextualised by new writing and an intro on opening night. more info and on sale here! >> www.ica.art/films/in-foc...

sacromonte cave museum 🍶🤍

Daniella Shreir · Diary: What happens at Cannes I arrived​ in Cannes with a terrible line from Sélection officielle ringing in my head: ‘To paraphrase Woody Allen...

‘Whenever Thierry Frémaux is asked about the political position of the festival, he replies with a variation on: “Le cinéma, rien que le cinéma.”’

Daniella Shreir at Cannes: www.lrb.co.uk/the-paper/v4...

filmmaker interviews from the @opencitydocs.bsky.social's critics workshop are now online! wonderful work ft. words from Maeve Brennan, Diana Allan, John Smith, Alexander Horwath, Saeed Taji Farouky, Armand Yervant Tufenkian, Jessica Sarah Rinland, Morgan Quaintance >> opencitylondon.com/notes/

www.lespressesdureel.com/EN/ouvrage.p... delighted to be back in FIDback ❤️ i wrote on Lilith Kraxner and Milena Czernovsky's colour/character studies, where being alone is red, round, and bouncy for Beatrix, and bluish for others 🔴 🔵

‘But I wanted to be the first / to tell you that the words / have turned and have transformed themselves: / they are long intelligent fish-faced snakes’

‘Does a thick meaty porridge / of language actually nourish?’

Angela Winkler and Hanna Schygulla in Margarethe von Trotta's SHEER MADNESS 🖤

applications for the Another Gaze x @opencitydocs.bsky.social Critics Workshop are open only until 9PM (UK time) on Monday: opencitylondon.com/news/open-ci... don't miss that deadline! 🕘 Dani and i want to read yr apps!

best film of last year – don't miss it

Locarno Film Festival · Critics Academy The Locarno Critics Academy is an extensive workshop in film criticism that gives young writers a crucial entry point into the world of film festivals. During...

applications are open for the locarno critics academy. doing this and meeting everyone involved in 2017 gave me the confidence to write and work in and around film. and now @celizotte.bsky.social is on board too, so it’s even better now.

www.locarnofestival.ch/about/factor...