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With Variety, Bette Gordon proved her knack for disrupting male spaces and transgressing the limits of the film noir genre. She also proved her punk-powered production is much more than "a feminist Vertigo", finds Brian Quinn
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With Variety, Bette Gordon proved her knack for disrupting male spaces and transgressing the limits of the film noir genre. She also proved her punk-powered production is much more than "a feminist Vertigo", finds Brian Quinn
Set in the grimy pre-unification Berlin of David Bowie, Lou Reed, Einsturzende Neubauten, Christiane F. is a stylish, low-budget tale of teen heroin addicts with a cult following – now at risk of being commodified into an idea rather than anything real, finds David Robb
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