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Critic and programmer Miriam Bale, in a 2012 issue of her short-lived but widely beloved journal Joan’s Digest, offered a shrewd study of a subgenre she termed “persona swap” cinema, these being defined as “psychological, supernatural” works concerned with the transference of personae between two women, films that “at their best illuminate very specific aspects of relationships between women.” Drawing on (and expanding from) Bale’s own canon, Twisted Sister showcases films by Jacques Rivette, Věra Chytilová, Catherine Breillat, Robert Aldrich, Ingmar Bergman, and others, for a program of magical mergers, malleable identities, and woman-centered films that investigate, in Bale’s words, “the complexities and conflicts of female friendship.”