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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

Eileen G’Sell

Eileen G’Sell is a poet and critic with regular contributions to Hyperallergic, Reverse Shot, The Hopkins Review, and The Riverfront Times, among other publications. In 2019 she was nominated for the Rabkin Prize in arts journalism. She teaches at Washington University in St. Louis. More on her writing can be found here.

Posted inFilm

Two Feminist Directors Who Exposed the Trials of Working Class Women

by Eileen G’Sell November 11, 2018November 9, 2018

While the female protagonists in Barbara Loden’s Wanda and Susan Seidelman’s Smithereens may be lost — and legitimately poor — the one thing they are not is self-pitying.

Posted inArt

Mona Hatoum’s Psychological Surgery

by Eileen G’Sell August 9, 2018August 9, 2018

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.

Posted inArt

An Afro-Surrealist Project Deifies God-Like Bodies of Color

by Eileen G’Sell July 12, 2018July 13, 2018

Damon Davis plumbs the depths of Black history, fantasy, and mythology to create a vision of power and resilience in his St. Louis exhibition.

The Orchidée trio featuring Valérie Mairesse (far right) in One Sings, the Other Doesn't (Agnès Varda, 1977)
Posted inFilm

Agnès Varda’s Utopian Musical Homage to Feminism from the 1970s

by Eileen G’Sell June 5, 2018June 4, 2018

One Sings, the Other Doesn’t, Varda’s precious and poignant feminist musical from 1977 has been restored.

Susanne Sachsse stars as Big Mother Bruce LaBruce’s The Misandrists (all images courtesy Cartilage Films)
Posted inFilm

Bruce LaBruce Misfires with an Awkward Marriage of Punk and Camp

by Eileen G’Sell May 30, 2018

The provocative auteur’s latest, The Misandrists, attempts a tongue-in-cheek critique of radical feminism.

A scene from Let the Sunshine In (2017, directed by Claire Denis), a Sundance Selects release (courtesy Sundance Selects)
Posted inFilm

Juliette Binoche Beds and Sheds Lovers in Claire Denis’s Anti-Rom-Com

by Eileen G’Sell May 7, 2018July 2, 2021

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.

A scene from Jeannette: The Childhood of Joan of Arc (2017, directed by Bruno Dumont)
Posted inFilm

Visions of Joan of Arc as a Dancing, Singing, Head-Banging Kid

by Eileen G’Sell April 13, 2018

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.

Marion Cotillard (left) and Charlotte Gainsbourg (right) in a scene from Ismael’s Ghosts (all images courtesy Magnolia Pictures)
Posted inFilm

Marion Cotillard and Charlotte Gainsbourg Spar in a Haunting Love Triangle

by Eileen G’Sell March 22, 2018March 23, 2018

French filmmaker Arnaud Desplechin’s latest, Ismael’s Ghosts, offers a nuanced look at how women in mid-life grapple with fear and loneliness.

Dario Calmese, from the Amongst Friends. series (courtesy the artist and projects+gallery)
Posted inArt

Rich and Varied Visions of Black Female Glamor

by Eileen G’Sell March 6, 2018March 7, 2018

Two exhibitions in St. Louis explore very different but complementary visions of how Black women have redefined glamor.

Posted inFilm

A Cruel and Comic Allegory of Destroyed Masculinity

by Eileen G’Sell November 15, 2017November 15, 2017

Shock, gallows humor, and defanging the alpha male in Yorgos Lanthimos’s The Killing of a Sacred Deer.

Posted inArt

Tongue-in-Cheek Fetishism, Tied Up with a Pretty Bow

by Eileen G’Sell October 31, 2017November 1, 2017

Playing photographically with femininity, commodity, and bodily perception, Heather Bennett reveals a sly sense of humor.

Posted inFilm

Mother! Is a Wild Ride, But Is It Also Strangely Feminist?

by Eileen G’Sell October 2, 2017October 2, 2017

The film has elicited intense reactions with its super-saturated horror, but it also has a campy streak with feminist implications.

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