In response to my response
(> And, of course, as with any identity-based qualifiers, a given film has
> numerous "identities." It is a Dutch film, a woman's film, a family film,
> etc.)
Leo Enticknap writes:
>Absolutely.  To try and move on from simply acknowledging
>the existence of numerous identities, the thorny question
>seems to me to be one of priorities: in a given context,
>what is the most significant focus of a given
>film/film-maker and why?  For example, if someone were to
>ask me what my thoughts were on Sagan's "Madchen in
>Uniform", my brief reply would be that it is a lesbian
>film. In response to the same question apropos "Antonia", I
>would say that it was yet another of those pan-European
>co-productions we've been seeing recently, paid for by
>various government film instutions and TV companies.
Picking up on "what is the most significant focus of a given
film/film-maker and why?" I would still insist that the critique of
heterosexuality is at the center of all of Gorris' work, and that that is the
most significant thing about "Antonia's Line."
All the best,
Jenni Olson
Producer, PopcornQ
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