Barbara Miller, Switzerland,Germany , 2018, 97'
World Premiere
Sun. 5.8.2018, 11h00, La Sala
Mon. 6.8.2018, 18h30, L'altra Sala

en / it / de / fr

Barbara Miller’s #Female Pleasure lets us participate in a trip around the world with a report that reveals the close relationship between femininity and religion. Whatever the continent, the culture or religion, she always comes to the same conclusion: Woman is a body, above all. And she has no right to this body. It is the possession of others, merely serving as a means for procreation and an object of male lust. It is an object of temptation loaded with shame that must be controlled, punished or hidden.

This finding is known, however, and perhaps this view of woman dictated by religion was partially softened (although not everywhere and not to the same extent). Yet the juxtaposition of fates told here, the shift from different yet identical stories shows a frightening result.

The similarity of the attacks described by the women is impressive, especially since they concern completely different religions and cultures: from India and Japan, a Hasidic community in Brooklyn to the Catholic clergy. Misogyny seems to be the only common denominator, which nearly succeeds in bringing together religions that are otherwise in conflict with each other.

An online platform in India preaches submissive sexuality, whereas an orthodox Jewish community advises young women to be ashamed of their developing body. Women from Somalia describe the sexual mutilation they fell victim to as children. It is difficult not to be affected, even in more ironic cases, as that of a Japanese artist who was arrested for creating an imprint of her vagina. In these times of the Weinstein affair and the #metoo movement, #Female Pleasure shows us that today's attacks are not crimes of modern society but the consequence of millennial cultures and creeds. This is not comforting. Rather, it stresses how such offences have been tolerated until now, precisely because, under the guise of tradition, customs and “healthy” role distribution, they were swept under the carpet of history. Thus the culprits of deeds denounced by courageous women today cannot only be found in the immediate past but also in distant times. This is what this impressive film shows us.

Chiara Fanetti