Since the release of Sally Potter’s first feature film, The Gold Diggers, in 1983, commentators have obsessed over her experiences as a female filmmaker. The acclaimed writer and director of Orlando and Ginger & Rosa—and over a dozen other films—finds this fixation exasperating. “Don’t you want to talk about how I work with light and actors, about structure and narrative, about illusion, transcendence and all these fantastically interesting things that make up cinema?” she says, recalling these exchanges. Potter defines This story is from Kinfolk Issue Fifty Buy Now Related Stories Films Issue 51 Point of View Filmmaker Garrett Bradley reflects on a corner of her city. Films Issue 49 Ruben Östlund Crude, contrary—and killing it: Meet the auteur of awkwardness. Films Issue 49 Mamoudou Athie The shape-shifting actor is on a roll. Films Issue 49 Fares Fares After almost 25 years, the master actor steps behind the camera. Films Issue 48 Slaying It On the building blocks of horror. Fashion Films Issue 44 Wardrobe Malfunction Why does the fashion in films so often disappoint?
