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E. Nina Rothe

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The Diaries, because sometimes life needs more. 

COURTESY OF VENICE DAYSA still from Shirin Neshat’s ‘Looking for Oum Kulthum’ featuring Yasmin Raeis

COURTESY OF VENICE DAYS

A still from Shirin Neshat’s ‘Looking for Oum Kulthum’ featuring Yasmin Raeis

The Venice Film Festival Diaries: ‘Looking for Oum Kulthum’, ‘Woodshock’ and a ‘Coda’ That Isn’t the End

E. Nina Rothe February 5, 2018

If you think that in order to feature strong women a film festival only has to pay attention to the male to female ratio of filmmakers in their Competition section, think again. At this year’s Venice Film Festival, powerful, interesting, revolutionary women roles, filmmakers and icons have been everywhere. You just have to know how to look. And maybe you won’t always find them in the director’s chair, which is alright by me. But in the case of the first two films I’ll talk about here, they happened to be both in front of and behind the camera.

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In The Diaries, Cinema, Festival Tags Looking for Oum Kulthum, Woodshock, Shirin Neshat, Yasmin Raeis, Venice Film Festival, La Biennale di Venezia, Venice Days, Oum Kulthum, Egypt, Iran, Women Without Men, Ryuichi Sakamoto, Laura and Kate Mulleavy, Rodarte, Kirsten Dunst, Pilou Asbæk, California Redwoods, Stephen Nomura Schible, Japan
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