The November 25 occurs the International Day for the Elimination of Violence Against Women, whose message is to be honored and promoted with a selection of films on the theme.
Birth and recurrence symbols
Established only in 1999, byUnited Nations General Assembly, the anniversary serves to sensitize the whole of humanity to a problem that is still too looming.
During the day, there are numerous initiatives aimed at supporting its principles, starting from symbolic red color, also exhibited as a simple smear of lipstick on the cheekbone – regularly seen on Serie A footballers on the pitch – or with women’s shoes lined up in public places.
Cinema, television, art in general have often dealt with the issue of violence against women, in the most varied ways.
International day against violence against women | men that hate women
MEN THAT HATE WOMEN
Of film adaptations of the novel of the same name by Stieg Larsson, the first of a saga entitled Millennium, two were made. The first (2009) is directed by Niels Arden Oplev, the second (2011) from David Fincher.
The plot is clearly the same, although each director’s own styles, sensibilities and poetics change. If the Scandinavian work maintains the iciness and crudeness of the literary text, Fincher’s film envelops the viewer in its spirals of mystery and violence.
Lisbeth Salander she is undoubtedly one of the toughest and most captivating female characters ever. With a troubled past, dotted with abuses and family homes, the young woman has built a wall between herself and men. A hacker by profession and a loner by choice, Lisbeth has one particular vocation: to punish those who harm women. The day in which, in his existence, the journalist swoops Mikael Blomkvist, all his expertise will take on a new and fundamental value.
To bring this heroine to the screen Sui generis three great actresses interspersed: Noomi Rapace, Rooney Mara And Claire Foy – in the adaptation of The one that doesn’t kill (2018), sequel to the first trilogy of Millennium.
Two titles on the subject from Spain and Italy
I GIVE YOU MY EYES
Set in Toledo and winner of ben seven Goya Awards, I give you my eyes (2003) deals with the theme of violence against women in a rather canonical way. In fact, Pilar’s story comes to life on the screen (Laia Marull), who took refuge from her sister Ana (Peña candle), together with his son Juan (Nicolás Fernández Luna), following the insistent beatings by her husband Antonio (Luis Tosar). The man will try in every way to win back his wife, also starting a path on himself, for the management of anger.
Madrid Icíar Bollaín he writes and directs a powerful, raw and realistic work, leading the viewer to experience the same sensations as the protagonist. Poised between attraction and fear, Pilar experiences this ambiguity that does not give her respite and does not allow her to be lucid. But the consequences of such a situation will not be long in showing themselves.
Available on RaiPlay and directed by Irish Braschi, Love stolen (2016) stages the story of five female characters, different in age, situation and social background. They share the traumatic and violent experience with men in love, sometimes in love, but unable to manage that most visceral part of the relationship.
Jealousy, possession, control, make love an unhealthy feeling, full of danger and suffering. Forcing his hand in a few moments, with the aim of conveying a important message, the film deals with a complex and unfortunately still very current issue.
Freely taken from the homonymous collection of short stories, edited by Dacia Maraini, Love stolen sees the participation of a large cast: the female protagonists have the faces of Chiara Mastalli, Elisabetta Mirra, Gabriella Pession, Elena Sofia Ricci, Stefania Rocca.
Forever lasts the pain, the fear. The wounds remain forever. We will always remember those who knew nothing about love. We will be wary of ours, of your hearts. We will take away what has been lost and those who have lost their faith because of you. We will forever remember how simple it can be to love yourself and be happy.
International day against violence against women | The films passed for the Rome Film Fest
THE LIFE TO COMETO
Directed by Phyllida Lloyd (Mamma Mia !, The Iron Lady), co-written by Malcolm Campbell and from Clare Dunne – who is also its protagonist – The life to come (2020) tells the story of Sandra and her strenuous struggle to guarantee a future for her daughters, one that is free from the violence she has endured for years. Removed from her husband, she tries in vain to enter the system that offers shelters to women in difficulty.
At that point, Sandra decides to build a house with her own strength. The path taken by the protagonist is studded with difficulties, obstacles, unforeseen events and sufferings of all sorts. But the woman’s soul does not bend, however much life seems to be rowing against her.
Presented in closing at Rome Film Fest, in collaboration with Alice in the City, the film highlights some real and important problems of our society. At the same time, it enhances a discourse on the community and invites us to pool resources to reach the goal.
Based on the novel of the same name by Emma Donoghue, in turn inspired by the Fritzl case, Room (2015) of Lenny Abrahamson tells the incredible story of little Jack (Jacob Tremblay) and mother Joy (Brie Larson). The two live inside a room – hence the title of the film – and have no contact with the outside.
As the narrative progresses, the child’s curiosity grows and prompts Joy to devise a plan to get them out of there. What at first glance appears to be a post-apocalyptic situation, creating confusion and questions, soon takes the form of a real tragedy. And everything is thus played on the atmosphere, between ambiguity and claustrophobia.
The film, winner of the Toronto Film Festival and presented at the Rome Film Fest, raises crucial questions and reflections on a patriarchal society, which hides dangers and serious disturbances, moving in the shadows.
Two cult of the eighties and nineties
THE PURPLE COLOR
Steven Spielberg adapted for the screen the novel of the same name by Alice Walker, centered on the figure of Celie. The narrative starts from the protagonist’s childhood and follows her path up to adulthood: raped by her father and enslaved by her husband, Celie will finally find a long-awaited serenity, but not without suffering. indescribable penalties and live with the resulting injuries.
Whoopi Goldberg lends her face to Celie, also deserving a nomination forOscar for Best Actress in a Leading Role – the film received 11 nominations in all. The purple color (1985) is not only one of Spielberg’s masterpieces, but also a pivotal work in telling one insight into vintage life and the conditions of the women who populated it.
THELMA AND LOUISE
Thelma & Louise (1991) is today a real cult, but behind the facade of road movie in the feminine there are numerous issues concerning the fair sex (and not only). There friendship story between the two protagonists, played by Geena Davis and Susan Sarandon, gives the opportunity to investigate an American provincial reality, which however reflects a large slice of Western society.
Playing skillfully with some topoi of the most attractive film genres, relying on the writing of Callie Khouri (Academy Award for Screenplay), Ridley Scott builds one flawless parable. The justice system loses credibility, giving way to a revenge that, as almost always happens, will have no winners.
International day against violence against women | The movies about revenge
A PROMISING WOMAN
Carey Mulligan gives voice, body and color to his Cassie, a real force of nature, complete with a rainbow wig combined with nail polish. The young woman leads a double existence: during the day he works in a small bar, while in the evening he goes to clubs, looking for men to punish. In fact, a tragedy occurred in her past, which deprived her of her best friend and forever conditioned the course of her life.
Emerald Fennell – known for bringing Camilla Shand in to the screen The Crown – makes his directorial debut with an opera featuring a visual and narrative force absolutely amazing. If so much is due to Mulligan’s performance, one cannot ignore the excellent construction of the character and the context she inhabits.
A promising woman (2020) unfortunately was affected, in the promotional phase, by the pandemic period, but it is undoubtedly among the most valuable and illuminating titles on the topic of violence against women.
Presented to the Venice International Film Festival – where he earned the Special Jury Prize and Marcello Mastroianni – The Nightingale (2018) tells the story of Clare (Aisling Franciosi), a young Irishwoman who works for the colonial regiment, led by Lieutenant Hawkins (Sam Claflin). When the latter causes the deaths of her husband and daughter, Clare decides to pursue her own plan of revenge. Not being believed or supported by those in charge, she will have at her side a native named Billy (Baykali Ganambarr).
The Australian Jennifer Kent creates a work of impressive and indelible hardness: in addition to having specialists on the set to support the performers, there were not a few controversies which accompanied the release in the hall and the passage in the various festivals. Broadly similar to the Revenge (2018) by Coralie Fargeat, The Nightingale immortalizes a rather realistic historical-social cross-section.
Maid | The miniseries dealing with the theme of violence against women
The surprising and popular Netflix miniseries follows the story of Alex (Margaret Qualley), from the day she decides to leave her husband Sean (Nick Robinson) and to take their daughter Emma away from an environment not suitable for a three-year-old girl.
Thanks to flashback we know what prompted the young woman to do this, and at the same time we feel empathy for her and her story. Without making judgments, but not hiding even one criticism of today’s society, to some of the mechanisms that move it, the series possesses and exhibits a poignant emotional charge.
Maid (2021) takes inspiration from the memoir Hard work, low pay, and a mother’s will to survive, written by Stephanie Land.
We reserve a final mention for the work directed by Goddess Kulumbegashvili – to be released on 25 November 2021 – set in a particular and complicated context such as that of Jehovah’s Witnesses. The protagonist (Kakha Kintsurashvili) suffers an act of violence, which will call into question everything he always believed in and believed he lived for. A debut of extraordinary narrative power and visual rigor.
‘Beginning’ premiered at the cinema for the International Day against Violence against Women
“The silent party”: review of the long-awaited film on gender violence
Don’t touch me: Stefano Calvagna talks about violence against women
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