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In 1983, Maria Schneider gives an interview for the TV show Cinéma Cinémas. The conversation takes an unexpected turn when she challenges film industry practices and is asked to talk about the controversial film Last Tango in Paris (1972).Read More »
“A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint — and in Subrin’s words, “to investigate the mythos and residue of the late ’60s.” Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film.”Read More »