Yvonne Rainer’s sixth feature is a genuinely subversive movie about menopause. Out of a subject that has been virtually invisible on film, Rainer has fashioned a witty, risky work about sexual identity and the unequal economies of race, gender and class.
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Dated, no doubt, but to the extent that Godard and Gorin films are: the coincidente of a speech with a style that seeks a better articulation with an ideological analysis of a discourse, which artistic expression is more interpretative and interrogative than expository. The film not as a given act but as the acquisition of a discovery. The spectator emancipates himself, growing in (t)his gesture of autonomy.