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The Best Bette Gordon Directed Movies

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poster

61

46

6.1

/2239/

55

/35/

56

/28/

82

/28/

56

/36/

59

/10/

An ex-Navy man carrying out the last wish of a dying shipmate renews contact with old friends to break the code of silence around a mysterious, long-buried crime.

poster

40

4.5

/3424/

54

/296/

45

/128/

2.2

/1367/

46

/13/

18

/22/

43

/8/

1.0

A psychiatrist faces his past, present and future when he finds himself involved in the treatment of a young man recently released from prison for a murder committed when the boy was just 11 years old.

poster

51

33

6.1

/1554/

48

/43/

52

/42/

3.5

/11160/

26

/14/

A repressed young woman becomes obsessed with pornography and the mysterious rich patrons of the Times Square porn theater where she works selling tickets.

poster

55

25

5.5

/374/

60

/9/

43

/12/

3.1

/359/

53

/15/

60

/14/

A single mother and her 10-year-old son motor around the country as she makes ends meet and enters various relationships that her son has yet to understand.

poster

71

23

7.1

/156/

62

/4/

76

/10/

3.9

/1667/

A conceptual bicentennial film dealing with spatial and temporal relationships between two travelers, their car, and the geographic, political, and social changes from NY to Los Angeles.

poster

58

16

6.3

/150/

48

/10/

46

/6/

3.4

/1386/

Intercourse between two people who never appear on the screen at the same time. An exploration of sex and male/female identities.

poster

58

10

5.6

/132/

55

/6/

53

/10/

3.4

/491/

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

poster

51

10

5.4

/146/

42

/8/

48

/4/

3.1

/839/

A narrative film concerning an investigation of two women in time and space, to the point where the investigation becomes the narrative.

poster

?

10

/1/

Three women have a strange claustraphobic encounter in the ladies lounge of a luxurious manhattan hotel. Set in a timeless "twilight zone" where objects bear a menacing aura and seemingly harmless conversation carries a threatening subtext.

?

5.4

/9/

A visually stunning kinetic rhythm produced by looped footage (mathematical curves) in and out of phase with each other.

poster

58

?

6.2

/72/

46

/6/

3.4

/368/

The goings-on around a porn theater in New York’s East Village, interspersed with actors recounting experiences with extreme sexualities and a description of a scene from the pre-code Dorothy Arzner film of the same name.

poster

58

?

6.7

/82/

50

/5/

46

/7/

3.5

/390/

Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."

poster

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Exchanges investigates mechanisms by which meaning is produced in film, through the interaction of the process of construction of a text and the social context which determines and is represented by that text.

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A couple and a train.

poster

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Made to celebrate Anthology Film Archives’ 50th Anniversary.

poster

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A meditation on the American rustic. Various objects within the composition are re-presented in unnatural colors and unusual spatial arrangements, emphasizing the illusion of movement while exploring film grain and graphic nature. The image of foreground and background becomes reversed, and through that process we lose sight of three-dimensional space representation.

poster

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A single action seen from alternative left and right perspectives, accentuating reversals, repetitions and persistence of vision. Rather than uniting opposites, rhythm is set up by the struggling eye, varying as the image is moved closer to and further from the screen's center. The sound, with its fragmentations and its implications of incompleteness, focuses attention on the impossibility of a resolution in the film's dichotomy. "Rather than crediting the camera with objectivity according to the usual convention in film, the viewer is confronted with the relativity of simultaneous multiple perspectives. The soundtrack underlines the arbitrary relationship between a sign and its signifier, as does Magritte's painting, Ceci n'est pas une pipe." – The Art Examiner

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