Documentation on Alice Schwarzer: The Patriarchate in Secret

WThe hat is the opposite of feminism? One could argue about this, but one should certainly consider Rudolf Augustin’s conceptual proposition: a “patriarch” is a woman who is not necessarily at odds with the power relations she is fighting. The Spiegel Foundation referred to Alice Schwarzer, who was the most famous feminist activist in Germany for many years. Augustine could also say (in an image that requires deconstruction): Schwarzer has been wearing the pants in feminism for a long time.

In Sabine Derfliner’s Portrait of “Alice Schwarzer,” a small scene with Augustin suggests an engaging idea: How about making a film about a controversial character made up solely of traits and animosities? In this particular case, there will certainly be a lot of good material, because not only the male world (and the world of media, shaped by this for so long) has worked so passionately on Alice Schwarzer, with the crowning perhaps a line in a newspaper stating that she “should only stop by tearing her tongue out.”

Between portraiture and self-portrait

But of course it would be a pity for all the materials created by and with Schwarzer over the years from which Sabine Derflinger is now derived. The many talk-show moments alone testify to the natural rhetorical talent perhaps insurmountable by any training that Schwarzer has cultivated in the best sense of the word in the course of her work. But Derflinger also photographed her own material, and even managed to paint over private photos taken by Schwarzer’s wife, photographer Bettina Flettner.

In the case of the charismatic character, the boundary between portrait and self-portrait becomes a bit blurred — the fact that there are of course limits to access in certain contexts becomes apparent in a scene in which Schwarzer suddenly interrupts a TV interview when the conversation turns to her wife. She didn’t want to take the “special turn” at that moment, while Derflinger is allowed to reveal at least the most important things in this regard: childhood memories of the Wuppertal, pictures of “spoiled” first beau Bruno or the amazing memories of loneliness in the magazine’s early years” whatever”.

The debates in which Schwarzer moves today more than ever cannot be reduced to even a film montage that lasts more than two hours. Anyone interested in the contrasting attitudes of feminism today will take Alice Schwarzer’s movie as a starting point. For example, the scene in which Caroline Forrest (author of the bestselling book “The Offended Generation”) describes Schwarzer as “disassembly”. It’s a case of the kind of movie that implied sometimes explodes. Ideally, enjoying pictures with “Alice Schwarzer” leads to an intense reading.

Portrait movie Alice Schwarzer In cinemas starting Thursday

Leave a Comment