In 2017, I froze my eggs. In 2018, I did it again--in Spain. In my first essay for , I dive into this experience and the challenges of assisted fertility for the great percentage of us who cannot afford it. thebaffler.com/latest/summer- #fertility #reproductiveautonomy
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Eileen G'Sell
@Reckless_Edit
Diligent dilettante. Film critic . Words .
Eileen G'Sell’s Tweets
Excellent piece on the late, great novelist. #CormacMcCarthy
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“McCarthy’s passage has always been this…war and language, fettered nature, the world of men. He sort of neglects women in his work. I’m sure this has been pointed out to him.” Joy (Williams) to the world! Love her review of Cormac’s new novels @Harpers harpers.org/archive/2023/0
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#Tribeca2023: THE FOURTH WALL. A fascinating and cogent examination of a New York cult hidden in plain sight.
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Very proud of my friend Keith Newton, whose new documentary series THE FOURTH WALL just debuted at ! #TribecaFilmFestival
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#Tribeca2023: RATHER. Hard not to feel reverent watching this portrait of icon , who, for all his flaws, seems genuinely motivated by a singular sense of decency and dispassionate compassion. Where are comparable paragons of masculine competence today?
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Astute defense of everyone’s favorite dead French sociologist
#Tribeca2023: RULE OF TWO WALLS. A devastating, brutally beautiful documentary about the work of Ukrainian artists in a time when survival itself is a creative act. #ukraine #documentary
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, your candor in this doc was crucial. As a 90s teen, I was torn about Chasing Amy itself, but found your performance in it so moving. Seeing and hearing you explain your experience behind the scenes helps me unpack my own coming of age during this decade.
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#Tribeca2023: CHASING CHASING AMY. ’s doc reveals, and duly celebrates, how a fraught piece of art (with frankly fucked up funding) can nevertheless do beautiful things that the artist (ie: Kevin Smith) never intended. Sav Rodgers is an important trans Midwestern voice.
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#Tribeca2023: APOLONIA, APOLONIA. An indulgent film—in the very best way. Following two creative women who inspire each other for thirteen years, this doc sates an appetite for art as life and life as art. Bohemian in a way so often faked. #apoloniasokol #womeninart #womeninfilm
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#Tribeca2023: AFIRE. Christian Petzold’s latest is a slow burn that suddenly erupts in the third act. Exiting the theater to smoky air, the fragility, and folly, of the human condition could not be more pungent. #afire #christianpetzold
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#Tribeca2023: THE LISTENER. Tessa Thompson’s many gifts are under-utilized in this drama, the script of which often feels wooden and stilted. My favorite scene was the last one because her dog becomes more of a character. The dog would have been great throughout! #tessathompson
"[T]he most impressive achievement of the pandemic welfare state, though, was a historic reduction in income inequality." Proud of former student , whose 1st piece redresses common misconceptions about inflation & the gov safety net.
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"At a time of rapid breakdown of social trust and a pandemic of cowardice and contempt, a little style can go a long way." I've been saying something similar for years, but in the latest , I daresay that said it even better.
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A poem I wrote about my last club night in Montreal, 2020, published in the latest edition of Matter Monthly.
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“Who should be most brassed off by this show? …[T]he women artists…dragooned into this minor prank, & the generations of women & feminist art historians…who have devoted their careers to thinking seriously about modern art & gender.” Incisive critique!
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This week, we're reading 's profile on Mieko Kawakami's reinvention as a writer; 's essay on cryopreservation; and 's essay on the trendy appeal of the traditional nuclear family. Find these and more in our newsletter: mailchi.mp/offassignment/
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Thank you, for the writing residency the past two weeks. With access to my own quiet office space, I was able to write seventeen poems, finish a manuscript, and make substantial progress on a long form essay. I shall dearly miss this room of my own!
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Inspired by a wondrous morning at the Théâtre de la Ville in June 2019, my poem "Facts Are Facts" was included in the 10th-anniversary edition of Matter! Honored to join , , and , among others.
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“It must be said that no work of art interrogates anyone or anything. This linguistic tic is endemic to the art scene and unproductively cliché.” Cogent, convincing recent piece by
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Doing a bit of research for a poem and came upon this delightful video about #TinaTurner as muse to both Peter Lindbergh and Azzedine Alaia for her 1989 "Foreign Affair" album.
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#AWP proposers, my panel isn’t cohering as I had hoped. If you know of any panel looking for an extra person—a poet, culture critic, feminist, and/or ekphrasis practitioner—let me know. Merci! 🌸👠🌸
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The guy working on the sewer outside looks like Sonic Youth's Lee Ranaldo, even down to the plaid. Delightful.
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“Una de las películas más impactantes visualmente de #Sundance2023 -y emocionalmente desgarradoras - que termina posiblemente con el plano final más poético que he visto en años.”
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LA PECERA🐟estreno en cines🎥 26 de mayo
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Recently on :
🔹 & report from #Cannes2023
🔹 on melodrama and male friendship in CLOSE and THE EIGHT MOUNTAINS, on Ruchir Joshi's nonfiction essay films
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Adieu to another St. Louis legend. I hope you and Kenneth Anger are raising holy hell. riverfronttimes.com/music/rock-and #tina
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"To softly, willfully cede control, as well as the prospect of ever having it, might be the most we can aim for these days."
Rereading a film piece I wrote while my dog was dying last year, and honestly tearing up a little.
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Today I learned that "LCD" stands for liquid crystal display, and suddenly my laptop seems a lot trippier.
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Netflix documentary “Victim/Suspect” reveals the extent to which women are vulnerable to pressures to take the blame for their own violent assaults.
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"One day the McMansion, once a token of financial tomfoolery, will instead epitomize our nihilistic, environmental death drive." Trenchant critique of enduring architectural typology from
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"Finding more than 180 false report cases covered by the media over the past decade, de Leon discerns a pattern in how police abuse their power, and the victims ostensibly in their trust. In much of the footage, accusers are grilled for hours within days of their assault, [...]."
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Few docs have stuck with me this year as much as @fancynancynyc's VICTIM / SUSPECT--available to stream today @netflix. Here's my take @hyperallergic. @reveal @raeoflion @ejeancarroll hyperallergic.com/823429/victim-
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Few docs have stuck with me this year as much as 's VICTIM / SUSPECT--available to stream today . Here's my take .
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In my first essay, I unpack the critical reception to Lukas Dhont's CLOSE, a film that skirts the confines of both traditional & “male” melodrama genres. Thanks to , , & , whose perspectives I incorporate.
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"When it comes to depictions of suffering, what is it about sentimentality that pains us so?"
on male interiority, grief, and friendship in Lukas Dhont's CLOSE and Felix van Groeningen and Charlotte Vandermeersch's THE EIGHT MOUNTAINS:
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"a man who is bad at lying / down the avenues I sauntered, the promenades / I tread, bragging about how close I was // to ghosting all the Frenchmen and Frenching / all the ghosts"
From "Juliette Binoche" by @Reckless_Edit: thediagram.com/23_2/g'sell.ht
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