Certified Forgotten Header

lede_post_card_default

lede_post_card_stacked

lede_post_card_featured_post

lede_post_card_featured_posts_hero

lede_post_card_featured_posts_sidebar

lede_post_card_highlighted_post

lede_post_card_horizontal_a

lede_post_card_horizontal_c

lede_post_card_related_post

lede_post_card_square

lede_article_featured_16x9

lede_article_featured_3x2

lede_article_featured_1x1

lede_article_featured_flexible

lede_article_content

lede_article_content_wide_width

lede_article_content_full_width

lede_byline_avatar_post_card

lede_byline_avatar_highlight

lede_profile_coral_avatar

lede_logo

lede_logo_banner

lede_logo_footer_banner

lede_logo_simple_header

lede_sponsorship_logo

lede_sponsorship_logo_river_card

lede_sponsorship_homepage_card_logo

lede_sponsorship_homepage_card

Footer

Main Menu

cropped-Certified-Forgotten-Header.png

Certified Forgotten

Support Independent Film Criticism

Certified Forgotten Web Ads

<p>Annette LePique is an arts writer and educator based in Chicago. Her research interests include cinema, race, time, hysteria, and the ill body. She has written for Cleo Film Journal, Another Gaze Feminist Film Journal, is a frequent contributor to Chicago Artist Writers, and a Features Writer at Sixty Inches from Center.</p>


The Loved Ones

‘The Loved Ones’ Offers a Twisted Take on Girlhood