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Gabrielė Liepa

Gabrielė Liepa (b. 1993) har studert film og litteratur ved universitetet i Amsterdam. Hens interesser inkluderer queer cinema, eksperimentell film og østeuropeisk filmhistorie. For øyeblikket studerer hen kreativ filmproduksjon i Berlin.

Berlinale 2026: A year of controversy and contradiction
International Edition

Berlinale 2026: A year of controversy and contradiction

Av Simon Holm

Berlinale 2026: Through its successes and failures, Berlinale reminds us that films are never purely art nor entertainment – and even if cinema stayed out of politics, politics would not stay out of cinema.

«I’m no past and all future, see? And I like it that way»: On Gilda (1946), its Past as a Regressive Noir Oddity & Future as a Reclaimed Queer Classic
International Edition

«I’m no past and all future, see? And I like it that way»: On Gilda (1946), its Past as a Regressive Noir Oddity & Future as a Reclaimed Queer Classic

Av Gabrielė Liepa

Gilda is the queerest heterosexual film ever committed to celluloid. Yes, this supreme case study of the male gaze is, in fact, very, very gay.

On the Entitled Pleasures of Misbehaviour: Danny Boyle Digs Deep in Shallow Grave

On the Entitled Pleasures of Misbehaviour: Danny Boyle Digs Deep in Shallow Grave

Av Gabrielė Liepa

Danny Boyles Shallow Grave har 30-årsjubileum, og vises på Cinematekene denne uken. Gabrielė Liepa skriver om gjensynet med filmen: «Shallow Grave has a surprising amount of plates spinning despite being a debut.»

«Pink Flamingos» (1972).

Det abjekte slår tilbake i John Waters’ Pink Flamingos (1972)

Av Gabrielė Liepa

Gærningene i Pink Flamingos sin valuta er skitt og obskønitet, fordi de vet prisen for renhet og anstendighet – de betaler den selv.

This Peculiarly Human Preoccupation, Love: Nicolas Roeg’s Bitter Counterculture Classics 
International Edition

This Peculiarly Human Preoccupation, Love: Nicolas Roeg’s Bitter Counterculture Classics 

Av Gabrielė Liepa

Nicolas Roeg was one of the few British filmmakers who was willing to risk it all; and while sometimes the shots didn’t land, how extraordinary it is, still to this day, to see a film that refuses to cater to the caprices of the industry.

Rinse & Repeat: the Time of Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
International Edition

Rinse & Repeat: the Time of Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Av Gabrielė Liepa

What is the appeal of Jeanne Dielman for the viewers and critics in 2022? Is it possible that its influence stretches far beyond our immediate understanding, and is enveloped by external forces that wreak havoc on the film industry?

The Unsparing Judgement of Oneself: the Life and Work of Larisa Shepitko
International Edition

The Unsparing Judgement of Oneself: the Life and Work of Larisa Shepitko

Av Gabrielė Liepa

Today, as we watch in awe her fellow Ukrainians’ bravery and refusal to relent, The Ascent, and Shepitko’s life, may give us a clue as to what is worth fighting for.

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