Femina ridens

This is not about art (despite the depiction of the famous sculpture "HON – en katedral" by Niki de Saint Phalle), but the film still has a lot to offer. It is not directly about the content itself, which can be summed up simply in that the progressing feminization of society triggers a defensive reaction from a chauvinistic and mentally unstable, yet increasingly methodical man who tries to regain control over women by being even more brutal and powerful, considering himself weaker as a man in general and specifically. But it is not really about the content because all the verbal expressions of this cold and intelligent sadist do not sound intelligent at all, rather like the theories of Gen. Jack the Ripper from Dr. Strangelove... Indeed, it is not about the direct content, but about the film as a whole. From its entirety, you can feel the 1960s in a crystal-clear form (but not like in Antonioni's films, it is not art after all...) – the design, music, playful experiments with form, and elegant nudity. The film is also highly self-ironic and variable (although truly predictable towards the very end, but certainly not from the beginning), as few films fundamentally change course after two-thirds of the way through and start undermining themselves and their characters. (2014.11.22)