Reviews

Director Manal Khaled’s “Trapped” is inspired by real events that took place during the early days of the Tahrir Square uprising. The film’s screenwriter Rasha Azab talks to us about it.

The world of cinema has always been a mirror of society, one that amplifies its questions and debates. The two recent films Barbie and Oppenheimer, both vying for first place at the box office, have generated heated and diametrically opposed reactions, highlighting the extreme polarization of people’s opinions.

Between Barbie and Taylor Swift, blondes are reclaiming their power. These new pop culture phenomena prove one thing: the importance of the female point of view.

In this powerful portrait of a teenage girl who discovers that the relationship between her and her father is actually one of a pedophile and his victim, Dalva goes from denial to trauma, coming up against the violence she was subjected to in order to rebuild herself. Powerful and moving, this first film by young French director Emmanuelle Nicot is now showing in theaters across Italy.

A period film, a Shakespearean tragedy, a feminist movie? The Last Queen is all of the above. The film brings to life a period of Algerian history never represented on screen. Queens, corsairs, blood, and love—and above all, Algiers, conquered but never submissive.

The women depicted in the great Latin and Greek classics are secondary characters who evolve silently in the background of the heroic deeds of valiant warriors and powerful and capricious gods. Both marginal and submissive, their beauty can nonetheless trigger bloody wars and they are constantly victims of kidnappings and male violence…

The women depicted in the great Latin and Greek classics are secondary characters who evolve silently in the background of the heroic deeds of valiant warriors and powerful and capricious gods. Both marginal and submissive, their beauty can nonetheless trigger bloody wars and they are constantly victims of kidnappings and male violence.

The women depicted in the great Latin and Greek classics are secondary characters who evolve silently in the background of the heroic deeds of valiant warriors and powerful and capricious gods. But some authors have recreated their stories, promoting them to the rank of protagonists…

Some contemporary authors now rewrite great Latin and Greek classic from the point of view of Dido, Circe, Penelope, Calypso, Medea, Cassandra, finally promoted to the rank of protagonists. Irreverent, ironic and profoundly daring, their novels reverse the patriarchal perspective, providing us with a “new antiquity”.

I am grateful to Vicky Franzinetti who, together with Filomena Rosiello, organized an online meeting of major importance. This brought together three of the twelve North American activists of the collective, which, in 1973 published one of the key texts of world feminism: “Our bodies, ourselves”.