This article aims to analyse of the relevance of female authorship in the creation of contemporary epistolary cinema, focusing on letter-films and filmic correspondences. The works of various filmmakers are essential to understand the evolution of these enunciation devices since the emergence of cinematic modernity to the present moment. Since Agnès Varda represented an epistolary correspondence between women -L'une chante, l'autre pas (1977)-and Marguerite Duras created an epistolary diptych as two identity-alterity variations -Aurélia Steiner (1979)-, other women filmmakers have developed this cinematic form. Letter-films delve into epistolary seriality and materiality -Cartas visuales

El presente artículo analiza la práctica de la correspondencia fílmica a partir del concepto contemporáneo de intersubjetividad: el lugar donde confluyen y se comparten las subjetividades a fin de alcanzar nuevas perspectivas y resultados. El análisis de las correspondencias más relevantes, generadas a lo largo ya de más de tres décadas –desde Video Letter (Tanikawa y Terayama, 1983) a Life May Be (Cousins y Akbari, 2014)–, nos permitirá determinar cómo se produce este desplazamiento de la subjetividad a la intersubjetividad, mediante qué construcciones epistolares, en torno a qué prácticas fílmicas, espacios y temáticas, y con qué resultados. Concluiremos entonces cómo el ensayo intersubjetivo epistolar se materializa en diferentes dinámicas: punto de partida de una reflexión compartida; resultado del intercambio; búsqueda de un espacio creativo; dialéctica entre prácticas fílmicas diferentes; simulacro que aparenta una intersubjetividad que en realidad evita; e incluso su imposibilidad, cuando el intento intersubjetivo amenaza las subjetividades implicadas.

This article aims to carry out an analysis of female authorship in the materialisations of contemporary epistolary cinema, focusing on epistolary films and epistolary essay films. The works of various filmmakers are essential to understand the evolution of this enunciation device and the exploration of female alterities materialised through it. Women filmmakers' epistolary practices delve into the exploration of intimate space, authorial vindication, epistolary materiality, intersubjectivity and cinematic thinking to create diverse experiences of female alterity, developing this postmodern paradigm inherent to epistolary device. Since Chantal Akerman started the practice of the epistolary film with News from Home (1977), other women filmmakers have developed this cinematic form. The reading of a personal correspondence allows to explore female intimate alterities -

This article aims to carry out an analysis of the spectatorial position as a thinking space for the contemporary essay film based on the comparative study of two Francophone films: Face aux fantômes (Jean-Louis Comolli and Sylvie Lindeperg, 2009) and Jaurès (Vincent Dieutre, 2012). The dialogism of the essay film, the interpellation to the spectator to produce self-reflection on their position and critical thinking about the images shown, is then generated from the premise of identification. The analysis shows how Face aux fantômes offers an audiovisual thinking process on the mobilization of the gaze of the emancipated spectator theorized by Jacques Rancière, while Jaurès provokes the same reflection from the opposite approach: the fixation of the gaze and the representation of spectatorial passivity. In this way, both films reveal the possibilities of the spectator’s position as an epistemological space for the contemporary essay film.

The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker's presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address -cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism-as well as they create valuable materialisations of resilience, empathy, sisterhood and even pedagogy.