The documentary “Brainwashed: Sex-Camera-Power”(2022) is sad, infuriating, and revelatory. Objectifying women in film and media is nothing new; yet in analyzing how filmmakers shoot men and women differently, director Nina Menkes shows just how entrenched—and insidious—this way of seeing is. More in this film review from In Their Own League Continue reading Sundance 2022 Review: “Brainwashed: Sex-Camera-Power”
It’s been over 40 years since the film critic Laura Mulvey first coined the term male gaze, in her essay, “Visual Pleasure and Narrative Cinema” (1975). The male gaze is referred to as a way of seeing women and the world through a masculine perspective and point of view. Continue reading Feminist Film Theory 101: Defining The Male Gaze
This year at Toronto International Film Festival a retrospective, Here and Now: Contemporary Arab Women Filmmakers was held, casting a spotlight on the largely under screened cinema of the Middle East and North Africa. Showcasing the likes of Saudi-Arabia’s Haifaa Al-Mansour, Lebabon’s Nadine Labaki, Syria’s Soudadi Kadaan as well as Tunisia’s Raja Amari.
The programme celebrates female filmmakers from within the MENA region which is rich with female-filmmakers and female-centred stories and which has been at the forefront of feminist filmmaking far longer and far more powerfully than the vast majority of Western cinema. To celebrate this retrospective I will be taking a closer look at feminist filmmaking within Tunisia through Raja Amari’s “Red Satin” (2002), examining her deeply empowering use of the female gaze when depicting desire, sexuality and freedom. Continue reading TIFF Arab Women Filmmakers Retrospective: Desire, Sexuality and Freedom in Raja Amari’s “Red Satin”