Square Eyes - Life lasts two days - still 1

Writing

Creative writings we commissioned on our titles
Square Eyes - Journal_awomancover

Dear Grief,...

Savina Petkova on A Woman Escapes by Sofia Bohdanowicz, Burak Çevik, and Blake Williams
Square Eyes - Window boy journal

Window Boy Would also Like to Have a Submarine

Ava Cahen writes about Alex Piperno's feature, now available to watch on Mubi.
Square Eyes - Naya journal

The Eyes Which See Reality

Four short films with non-human perspectives.
Square Eyes - A night of knowing nothing journal

A Night of Knowing Nothing

Ruth Gilbert discussed the poetics and defiance of Payal Kapadia's documentary feature.
Square Eyes - Feast1

Cruising Oblivion: Tim Leyendekker’s Feast

Square Eyes - 45th parallel - still 2 - cred lawrence abu hamdan

Visuals

Mood boards or other image collections dealing with our films
Square Eyes - Sierra - still 15

Sierra: Storyboards & Sketches

A small inside into the creation process of Sierra
Square Eyes - 1. campus copy

A Night of Knowing Nothing: Picture Essay

Director Payal Kapadia shares a visual essay complementing her documentary A Night of Knowing Nothing. 
Square Eyes - Feast journal

Feast: Mood Board

A selection of images and excerpts from Feast's mood board and scenario.
Square Eyes - 03_europe_zohratraumwohnung © grandfilm

Outside

Writing that has been done on other platforms about Square Eyes titles
Square Eyes - A woman escapes - still 3

Unstable Objects: FIDMarseille 2022

“The following is a story that is somewhat true” reads the handwritten title card that opens A Woman Escapes, one of the standout features at this year’s FIDMarseille.
Square Eyes - Afterwater_stills_1_(c) flaneur films

Afterwater - this must be underwater love

A submerged text about Dane Komljen’s AFTERWATER
Square Eyes - 04_europe_universität © grandfilm

Europe - Wayward Fictions

Is it possible for narrative to reveal more about our lived reality than documentary?
Square Eyes - The delights - still 3

The Delights

Academic, Critic, and Curator Maria Delgado writes about Eduardo Crespo's feature documentary for the Frames of Representation programme.