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Helen Frappati, writer: “Every woman on screen who glorifies real life is a survivor.”

UThe wind of rebellion is blowing in France. By giving voice to the little girl she was, Judith Godrech broke the spell by which all women who are not “Nothing But A Little Girl Grown Up” wrote Henry James (1843-1916), must live with this complicated creature, sometimes talking, often mute, this frightened little ghost, forced from birth to arm himself for survival. It’s a rebellion of little girls! It seems that our culturally reactionary country will not be able to numb them this time.

What is France’s problem? New York Times. He struggled to understand why the self-proclaimed human rights nation remained the last to support (finance, praise, defend) filmmakers banned from the United States for sex offenses like Woody Allen or Roman Polanski. I thought. Armies of dead young girls slowly came to mind, processions of apparitions swirled before my eyes and lifted my heart.

The French problem, I replied, is the fraud of romanticism. I am talking about the artistic movement produced by our 19the Ultra-bourgeois and reactionary century. This century, which sanctified the property of the father of the family and his authority over the wife, justified the killing of an unfaithful wife by qualifying it as a “crime of passion,” what historians now call “feminicide.” his “muse”. The body of the Virgin and the mute mouth – a silence that evokes the anatomical plates of ancient Greece, where the two faces of a woman, the womb and the speaking mouth, are sealed with the same lock – “eternal feminine”, “dead in love”: Muse. The corpse of a woman, the corpse of a little girl.

Violence and the domination of the strong

Are you wondering why the status of women exists, whether we like it or not? Because in every woman, young or old, there is a little girl. Like the Red Riding Hood to whom Judith Godrech compared her at Inter in France on February 8, she was a child – a child who started making a living at the age of 8 by appearing in commercials, before choosing to be a 14-year-old. The wolf is proud of himself “Blue Beard Syndrome”Directed by Benoit Jacco – every woman learns from birth that her life will be about survival.

“The song of the wolf is the sound of suffering that will come upon you; This is murder in itself.”Angela Carter writes Company of Wolves (Scores, 1997). The English writer, who died prematurely in 1992, undertook to rewrite it blue beard, The chief and the monster, Snow White… by adopting the point of view of the heroine, who, in the traditional version, is systematically mute, petrified, oppressed, frightened, disgusted, married, massacred.

Source: Le Monde



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