![]() ![]() It’s Phase 5 of the Third Wave Feminist Cinematic Universe, one that emphasizes clickbait “ film movies” like “Don’t Worry Darling” rather than moving works like Sarah Polley’s “Women Talking” or Maria Schrader’s #MeToo origin story “She Said.” “Don’t Worry Darling” has been forced upon the zeitgeist as a female-branded film, starring a #StrongFemaleLead opposite the sensitive gender non-performing former boy bander turned androgynous pop star, and directed by a #TheFutureIsFemale director. Menkes continued, “But then as many people have said, ‘Yeah, but the way you shot it and the way the POV was constructed in that film, takes away her agency.’ Leaving out the script issues, which are many, but the way it was shot and the way the POV was constructed created a situation where the viewer is aligned with the POV of the oppressor.” She added, “I think there is a lot of disagreement and confusion, so people can say a film like ‘Blonde’ has a woman protagonist and she’s the main person in the film so obviously it’s a feminist film because it shows that she suffered at the hands of men: ‘It’s like a #MeToo movie!’ That’s their argument.” ![]() It’s not like one gets to be a subject (the man) and one gets to be an object (the woman).” ![]() Men and women are both full-on human subjects. “The definition of feminist is that men and women have equal rights. So, allow Menkes to define feminist film theory: “Feminist film criticism illuminates the way gender is constructed in cinema and the political meaning of those constructions,” Menkes said. “Brainwashed” premieres October 21 with a mission to dissect the male gaze, something which isn’t at all tied to the gender of the director but rather the universal language of cinema. “I noticed that people who read film theory and people who go to film school to make film tend to never meet or never know anything about each other,” “ Brainwashed: Sex-Camera-Power” director Nina Menkes told IndieWire, citing the importance of her documentary on feminist film theory and the overwhelming amount of research findings linking pervasive sexist imagery and onscreen violence to sexual assault. In a splashy pre-release cover story, Wilde made what seemed to be a sex-positive statement to Variety: “Men don’t come in this film. Olivia Wilde’s off-the-rails press tour for “Don’t Worry Darling” started with the “Booksmart” helmer praising the film for being a beacon of female pleasure (spoiler: lead star Florence Pugh’s character is repeatedly raped in retrospect and cannot consent since she is chained to a bed and held captive unconscious). Wade… and also #MeToo film marketing jumping the shark. 2022 marked the Supreme Court overturn of Roe v. The releases of the highly debated, female-directed “Don’t Worry Darling” and the would-be awards darling that reimagines Marilyn Monroe’s trauma, “Blonde,” proved an even deeper issue when debating the gender politics of films: “Feminism” has been co-opted to the point of becoming meaningless. It’s been five years since the start of # MeToo, and mainstream Hollywood still doesn’t know what a truly feminist film looks like.
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