Willing the self-preservation of herself and her unborn child, Rosemary becomes attuned to the duplicity of her surroundings: a barricaded closet, absent paintings on yellowed wallpaper, the chalky under-taste of a chocolate dessert. Congratulatory bouquets of flowers fill the apartment as a morbid curtain call; there’s only so much rot a charade can withstand.
1968 / JESSICA MOORE / READ MORE
“It’s better to eat porridge together than filet mignon alone.” These are the wise words of Birger: middle-aged, divorced and hopelessly lonely in a Stockholm suburb. The year is 1975.
2000 / EMMA OLSSON / READ MORE
In the pool outside, two children play in the chlorine waters, distanced from those of Sydney Harbour which lack such disinfectant. Beyond the harbour, the city moves in a flurry and whir. Modern life is fast. It is mercenary. It is suits and heels and traffic lights.
1971 / ISOBEL WISE / READ MORE
Violence is utilised to combat the abusive relationships they are held in, while in the midst of “girlboss feminism” the women reject the heteronormative ideals of femininity thrust upon them.
Visualised by the ghostly carousels that continuously, surreally crop up in different locations, immobility consumes the narrative. Always moving yet unable to move forward, bodies collapse inward—feelings reside in flesh.
Babydoll dresses in creams and shades of bubblegum and rose are paired with sandals and long-flowing hair. Borrowing Millie’s housecoats, Pinky starts to emulate her roommate’s actions and phrases, desperate to assimilate into her world.