WOMEN ON THE VERGE OF GENDER EQUALITY
Until recently, the absence of films made by women in major festivals worldwide was so blatant, that many of them decided to pay attention to no longer replicate in cinema the inequality women are still suffering from in all the other working fields of the society - and, indeed, women’s movies are starting to become a little bit more visible. However, this invisibility is a great mystery to One World Romania, since we never had this problem with our selections - we always had a great number of films made by women, and we even created a women-related-issues section.
This year we have decided to take it a step further and - just this once will not hurt - to focus the festival on Women and to make it our main theme. Women’s presence in our festival has certainly never been as big: 42 films out of the 53 of our selection are made by women, 29 women filmmakers have a film in the festival (versus 13 men), and 34 films talk about women (in a way or another).
Despite all the fights, achievements, and victories of so many women for more than a hundred of years - starting with the Suffragette Movement -, gender inequalities are still the (not so hidden anymore) rule in most of our societies (even West European women senior public servants are still paid less than their fellow male peers and their promotions are not as fluid), and women alienation is still current. That is why it seemed important to take the time to think about it not only through recent films (see below, and in this section) and the ones made by wonderful pioneer women (see the sections about Ulrike Ottinger, Delphine Seyrig, and the Simone de Beauvoir Center), but also with the many female guests from the civil society, the political and academic worlds et. al. we are inviting to take part in the many discussions held along the 10 days of the festival - we will even have the opportunity to meditate (literally!) on it with our Yoga female teacher, Ral Bratu (see side events).
The recent films in our selection are going to make you travel from Chile ("Little Red Riding Hood”" to Romania (”Bad Luck Banging or Loony Porn"), and also in Argentina ("Night Shot"), Belgium ("Petit Samedi"), Portugal ("The Metamorphosis of Birds"), Indonesia and Netherlands ("They Call Me Babu"), Iran ("Women of the Sun: A Chronology of Seeing"), Venezuela ("Chronicle of the Stolen Land"), Spain ("The First Woman"), Donbas & Ukraine ("The Earth is Blue as an Orange"), with an additional filmic trip to Switzerland, France and Hawaii ("My Mexican Bretzel").
You’ll also travel in time, back to the first part of the 20th century, in colonial Indonesia, with young Alima - Babu to her Dutch employers: so much easier to give the same name to all the nannies of one’s children ("They Call Me Babu"). You’ll meet Vivian Barret, a socialite of the 1950s failing to find her happiness or her purpose ("My Mexican Bretzel"). Then, in our time, you’ll think about the complexity of the female condition ("Little Red Riding Hood"), sexual violence and its consequences ("Night Shot"), the complex relationship between a son and his mother ("Petit Samedi"), the loss of the mother ("The Metamorphosis of Birds"), the liberation of female villagers from toxic preconceptions concerning women’s purpose in the world (”Women of the Sun: A Chronology of Seeing"), two strong suburban women’s fight for their rights ("Chronicle of the Stolen Land"), mental disorders and the psychiatric institutions ("The First Woman"), life despite the war in a family from Donbas ("The Earth is Blue as an Orange") and, last but not least, you’ll discover a feminist film made by a man ("Bad Luck Banging or Loony Porn"), as a sign of hope - maybe times are indeed changing?