Colectivo Cine Mujer Film Screenings | Sonia Fritz and Rosa Martha Fernández
On the evenings of Wednesday, April 10, and Thursday, April 11, 2024, the Loria Center for the History of Art became a hub of cinematic exploration and feminist discourse as it proudly hosted the Colectivo Cine Mujer Film Screening. This pioneering group of Latin American women filmmakers, born out of Mexico City's radical student movements of the 1970s, left an indelible mark on the landscape of cinema and feminist activism. With the presence of directors Sonia Fritz and Rosa Martha Fernández, the event promised an insightful exploration of their revolutionary vision.
During the first evening, the Cine Mujer Collective presented two films directed by Rosa Matha Fernández. As Ligia Fabris stated, "Cosas de Mujeres" deals with the reality, insecurity and violence against a woman (and all women) who are faced with abortion when it is illegal. Set in 1970s Mexico, the film is based on real women's stories that have been re-enacted and mixed with first-person narratives. Portraying the vulnerability of women under the threat of the law and medicine, it also portrays the solidarity between them. Also portraying statistics that link clandestine abortion and mortality rates, Fernández draws an impactful film that addresses the personal and social problems related to abortion and the current debates on the subject, especially with the recent setbacks in its legal regulation.
Dr. Fabris also wrote that the second film, "Breaking the Silence", deals with the violence of rape. Also mixing reality and fiction, something very innovative at the time, the film presents the stories of different women who were raped: a student who, after the trauma, found support and healing in her political-militant group, and the married woman who was re-victimized by her husband, who blamed her for what happened and became violent and abusive. The film also eloquently portrays the moral judgment, mistrust and re-victimization that women victims of rape face within religion and the law. In addition, the film features real testimonies from people imprisoned for this type of crime, demonstrating the violent force of the hegemonic model of masculinity, while at the same time showing a human - i.e. not "monstrous" - portrait of the male rapist, bringing a complex and not simplistic vision, which the director explained as a portrait that allows us to understand reality – and then transform it.
The audience participated in a conversation with various questions, such as how the testimonies were collected, which lines were real recordings, the filming options and shots, and highlighted the importance and timeliness of the two films for women's movements and rights, then and now.
At the heart of the second evening were two short films: “Vicios en la cocina, las papas silban” (1978) and “Yalaltecas” (1984). These films served as powerful testaments to the collective's commitment to challenging patriarchal norms and amplifying the voices of marginalized women.
In "Vicios en la cocina, las papas silban," Rosa Martha Fernández took on the role of producer, offering viewers a candid glimpse into the monotony and unacknowledged labor of women in the domestic realm. Through a poignant voiceover narrative, the film exposes the silent struggles of a woman burdened by societal expectations and the relentless demands of patriarchy. As she navigates the mundane routines of household chores, a sense of resignation and discontent permeates the screen, echoing the sentiments of countless women trapped in similar circumstances.
Following this introspective journey, “Yalaltecas” transported viewers to the remote indigenous community of Yalalag in Oaxaca, Mexico. Directed by Sonia Fritz, the documentary chronicled the collective resistance of the Union of Yalalteca Women against political marginalization. Through stunning cinematography and intimate storytelling, the film illuminated the resilience and determination of women fighting for their rights and reclaiming their agency in the face of adversity.
As the screenings unfolded, it became evident that Colectivo Cine Mujer's impact extended beyond the realm of cinema. Through their lens, they captured the lived experiences of women from diverse backgrounds, shedding light on the intersecting oppressions they face on a daily basis. Whether documenting the struggles of domestic labor or the collective resistance of indigenous women, their films serve as powerful tools for education, empathy, and social change.
The Q&A session that followed the Colectivo Cine Mujer film screening provided a captivating glimpse into the creative process and the rich tapestry of experiences that shaped the films. From discussions on inspiration and challenges to reflections on the communities featured in the documentaries, Rosa Martha Fernández and Sonia Fritz offered valuable insights into their work.
Rosa Martha Fernández, when asked about the inspiration behind her film, eloquently articulated the themes of monotony and unrecognized labor that permeate the lives of women. She highlighted the absence of acknowledgment for the immense, unpaid work undertaken by women, coupled with societal pressures to fulfill multiple roles and please men.
Sonia Fritz, reflecting on the challenges encountered during filming, shed light on the transformative impact of women-led initiatives in indigenous communities. She recounted how women invited female filmmakers to document their struggles, leading to a ripple effect of empowerment and solidarity across different regions. Fritz highlighted the logistical complexities of capturing authentic moments in the community, emphasizing the horizontal nature of the filmmaking process.
Overall, the Q&A session provided a deeper understanding of the creative vision and collaborative ethos that underpins Colectivo Cine Mujer's work. Through thoughtful reflection and genuine engagement with their subjects, Rosa Martha Fernández and Sonia Fritz demonstrated the transformative power of film in amplifying marginalized voices.
By Katherina Frangi
katherina.frangi@yale.edu