While artist’s career has consistently invited interpretation based in institutional critique and real-world tumult, it is equally constructive to consider her work from a psychological, rather than political, vantage.
Damon Davis plumbs the depths of Black history, fantasy, and mythology to create a vision of power and resilience in his St. Louis exhibition.
One Sings, the Other Doesn’t, Varda’s precious and poignant feminist musical from 1977 has been restored.
The provocative auteur’s latest, The Misandrists, attempts a tongue-in-cheek critique of radical feminism.
Let the Sunshine In is a rom-com only insofar as our heroine, a successful painter and divorcee, drinks and sleeps with a lot of men and frets about it later; but the laughs are few and the sighs are heavy.
French director Bruno Dumont’s latest, a ponderous experimental musical about Joan of Arc’s childhood, celebrates the innocence and banality of a young saint’s life.
French filmmaker Arnaud Desplechin’s latest, Ismael’s Ghosts, offers a nuanced look at how women in mid-life grapple with fear and loneliness.
Two exhibitions in St. Louis explore very different but complementary visions of how Black women have redefined glamor.
Shock, gallows humor, and defanging the alpha male in Yorgos Lanthimos’s The Killing of a Sacred Deer.
Playing photographically with femininity, commodity, and bodily perception, Heather Bennett reveals a sly sense of humor.
The film has elicited intense reactions with its super-saturated horror, but it also has a campy streak with feminist implications.