Women’s Epistolary Cinema. Exploring Female Alterity and Intersubjectivity: Letter-Films and Filmic Correspondences

This article aims to analyse of the relevance female authorship in creation contemporary epistolary cinema, focusing on letter-films and filmic correspondences. The works various filmmakers are essential understand evolution these enunciation devices since emergence cinematic modernity present moment. Since Agnès Varda represented an correspondence between women – L’une chante, l’autre pas (1977) Marguerite Duras created diptych as two identity-alterity variations Aurélia Steiner (1979) –, other have developed forms. Letter-films delve into seriality materiality Cartas visuales (Tiziana Panizza, 2005–2012), Envíos (Jeannette Muñoz, 2005–2017) deepens concept alterity Elena (Petra Costa, 2012). Filmic correspondences work emotion-image World (Naomi Kawase Hirokazu Kore-eda, 1996), In Between Days Isaki Lacuesta, 2009) show intersubjectivity Correspondencia: Fernando Eimbcke So Yong Kim (2011), Life May Be (Mania Akbari, Mark Cousins, 2014), A Moon for My Father Douglas White, 2019), Transoceánicas (Meritxell Colell Aparicio, Lucía Vassallo, 2020). Women’s exploration intimate space, authorial vindication materiality, order create diverse experiences that become sisterhood practice.