At once repugnant and entrancing, it turns the body into the ultimate frontier, an alien landscape teeming with surreal visions, less a decaying vessel than an undiscovered planet.
Her film and live performance Terra Femme tries to identify the female gaze... By weaving together archival amateur travel footage shot by women in the early 20th century, Stephens gives us insight as to what they attempted to capture along their journeys.
For me, there is one goal as an actor: truth. What is the truth in a situation? Because you are a reference to people. People are spending time to watch you, so you become their reference of a situation... if the audience is spending time watching you, there is a responsibility.
There is a quality to the gaze that is always political. It is not that children have a more poetic look on life, but that it is vital for them to look, it is vital for them to gaze. It is about getting information, because they are dependent and a lot is not said within families that have a strong hierarchy.
When I’m on the set, I’m learning about what I’m constantly drawn to. Part of it is instinct, and part of it is your own obsession, what you’re drawn to. Once I started making films, without losing that theoretical approach completely, that’s when you start gravitating towards things that move you or that attune you.
Top of the Heap, from 1972, centers on a black D.C. cop who’s frustrated with his job, but this is no run-of-the-mill seventies crime film. First-time director and star Christopher St. John creates a fascinating, volatile blend of police melodrama, Afrofuturism, counterculture satire, and sheer cri de coeur.