In “Woman Unknown,” May el-Toukhy takes a closer look at women accused of having relationships with German soldiers during World War II. But in Denmark, it wasn’t really explored.” Initially, she wanted to make a film about the witch hunts after the Reformation in the 1500s. And I’m interested in ambiguity,” she says.
Then, she came across an old newspaper photo of a woman with a swastika painted on her back. The shaving of a woman’s hair or her public shaming for ‘sharing’ her body is a very old concept. Even today, it’s still happening in many armed conflicts.” Still, this suffering tends to be ignored by historians.
The title of her film references that silence as well. It’s rare to have such recollections of the female experience during or after the war,” says el-Toukhy. For Marie, a housemaid and a nanny, the future looks bright: she’s about to marry her wealthy employer.
But in the weeks leading up to liberation in 1945, she must do her best to survive and ensure that her secrets don’t catch up with her. When you see their photographs in the archives, they’re often labeled ‘unknown woman.’ Also because people didn’t care.” Ironically enough, “Women Unknown” has already made headlines because of Venice’s decision to include only one female director in the main competition. The festival later added documentary “Naza,” co-directed by Rachel Szor.
But I would have loved to be in the company of more female directors in the competition. I do believe it’s a structural problem,” notes el-Toukhy. Not having enough films by women is also an issue that goes way back.
It’s reflected in the budgets we work with and the talent that wants to be involved. Even journalists talk about male directors differently than they talk about women. I’ve never heard a female director called a ‘genius’ – and I read many articles about male geniuses.” “Everyone has to chip in and be a part of it.
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