In Conversation with Amanda Kramer: A Talk About Female Perspectives on Cinema

CONTENT WARNING: The following conversation includes talks of sexual assault and toxic masculinity, which may be potentially upsetting for certain readers and listeners.

Following TIFF Next Wave, I had the chance to talk with Ladyworld writer-director Amanda Kramer about her creative process and her many influences. What soon followed was a long conversation about the state of the film industry and how important it is for female voices to climb higher up within in a male-dominant field. You can listen to the conversation below and also read it down below.

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Jean-Luc Godard’s The Image Book or How I’ve Come To Realize the Limits of Cinema as a Medium: TIFF Review


My relationship with Jean-Luc Godard has always been incredibly rocky, for as much as I love the films he made during the French New Wave I have also found it difficult to get into many of his films since the 90’s – although I seem to be finding myself drawn into them once again after having been able to experience Goodbye to Language (albeit not in 3D just as I know he had wished). With The Image Book, Jean-Luc Godard only chooses to remain just as baffling as he has ever been, but I can’t lie about how fascinating I’ve always found him to be not merely as a filmmaker but as an experimenter. There’s an anger that I feel in Godard’s films that he’s clearly never let go of, as a matter of fact he’s somehow found more ways in order to break away from what we’re already so used to seeing in the cinema – and yet I can’t help but find myself transfixed by what I’m watching. But you can only count on Jean-Luc Godard to continue making Jean-Luc Godard films, no matter how old he gets, because it can only say a great deal that would be exactly what it is that he’s best at.

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Weekend – Review


Godard at arguably his most politically aggressive during his earlier years, but at the same time he’s showing how he doesn’t even care what the audience is making from the images they are being given. But perhaps what makes Weekend such an intriguing watch is the notion that it has become so radical to the point it obscured its own message, yet never was I bored watching whatever Godard wanted to convey from the first scene to the last. But on a mere conventional standpoint Weekend could be the story for a comedy, and yet everything is revealed almost like a horror film – because everything comes by at such a baffling rate and it’s only where it only shows how wonderful Godard is.

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