Even in her fiction, Collins was thinking about the art of point of view and its role in film.
The breadth of Reiniger’s work cannot be understated, as it stretches across genres and countries.
At first glance, El Camino and Hollow City might not seem like they have much in common. Yet, after having watched the two, I find that they complement each other remarkably well. Both offer the beginnings of a coming-of-age story in which the audience looks at the world through a child’s point of view. Together, they offer both parallels and juxtapositions of how such a child must grow — as seen through the lenses of death, setting and agency, and friendship.
Prata’s work, Sleepwalking Land, is an adaptation of Mia Couto’s novel of the same name about wartime in Mozambique between 1977-1992 and the common people’s struggles to survive the conflict. Quite often, when a woman creates a film, she is labeled a “female filmmaker.” Her work is limited by her gender role and the stigma which comes attached to it. Men are not labeled in the same fashion. Teresa Prata, the director and writer of Sleepwalking Land, separates herself and her work from that label.
It’s delicious to see this kind of character taking up so much space on screen: unkempt, dazed, and aimless, with occasional moments of alertness to take pleasure in something tiny, just because she wants to.
Cheryl Dunye’s first feature, The Watermelon Woman, plays with autofiction in film: the plot follows “Cheryl,” played by Cheryl, as she “tries to make a documentary” about an actor from a 1930s film known only as “The Watermelon Woman.”