Nonsense! Gobbledygook! Gibberish! Balderdash! Folderol!
Magpies’ MixTape: Folderol
Independence Day Tears: The Memphis Blues of Furry Lewis
“On July 5, 1968—just three months after King’s assassination and the April 16th settlement that ended the strike—blues musician Furry Lewis was quietly shedding tears while entertaining friends at a party in his Memphis home. … The previous day had marked the nation’s first Independence Day since King’s death, yet for many black Americans in 1968, the Fourth of July offered little cause for celebration.”
Maya Deren: The Magical Woman as Filmmaker
“In At Land, and in Meshes also, domestic interiors signify the world of human society in which the protagonist is contained and trapped, but here there is also an exterior world of landscape and seashore, in which she becomes empowered and where she acts with confidence and certainty.”
Potholes and Potshots: Yvonne Rainer
“From descriptions of individual feminine experience floating free of both social context and narrative hierarchy, to descriptions of individual feminine experience placed in radical juxtaposition against historical events, to explicitly feminist speculations about feminine experience”.
History into Fear: The Ghosts of Edo
“Spirits return because something in the social fabric was left unfinished—an unacknowledged injustice, a normalized cruelty, a promise broken within a rigid order that leaves little room for repair.”
Zeinabu irene Davis
“Surrounded by people who were almost entirely unrepresented in film, Davis found her calling. She returned to the US galvanised — she would dedicate her career to telling their stories.”
Magpies Mix Tape: Where I’m From
Songs about home: missing home, leaving home, memories of home, defining home.
Cinema as a Memory of Nature
“Cinema becomes an unofficial archive—not of triumph, but of evidence. It records not what we achieved, but what we allowed to disappear.”
A Short Anti-Fascist Playlist
“To them, popular culture mattered, it was vibrant, and it was politically up for grabs.”
The Flickering Ghost: What Remains When the Projector Goes Dark?
“The greatest films, I have always believed, are empathy machines. They allow us to see the world through eyes that are not our own.” A beautiful love letter to cinema by Amir Zadnemat
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