Three captivating debut films that delve into the inner conflicts of their female protagonists. As the rationality of the external world often falls short of capturing our emotional realities, these films use dreamscapes—replete with surreal imagery—to explore the interior worlds of their characters. Through these vivid narratives, the women confront issues of domestic identity, self-worth, and the relentless pressure to conform to beauty standards, gender roles and societal expectations.
We begin with Maya Deren’s Meshes of the Afternoon, a groundbreaking work of experimental, avant-garde cinema. Deren’s visionary approach to filmmaking and her aesthetic sensibilities were far ahead of its time, with even her wardrobe echoing contemporary fashion. Shot as a silent film, it leads the viewer through an increasingly menacing dreamscape. Its imagery both captivates and unnerves, as the spiralling narrative boldly defies traditional conventions of cinematography and storytelling.
Next is Joanna Hogg’s Caprice, an ingenious student film starring a then-unknown Tilda Swinton as Lucky, a wide-eyed young woman who is transported into the fantastical world of her favorite magazine. The film’s playful production design and starkly retro costumes offer nostalgia for the 1980’s while delivering a sharp critique of capitalism’s pervasive influence on women’s lives.
Lastly, Prithi Gowda’s Televisnu follows a call center employee who, while fixing her computer, falls into a magical web of wires where hidden memories and desires emerge. Gowda blends humor and mysticism, crafting a profoundly imaginative and resonant story.
Women, Dreams and Desires | Short Films, 55 mins
Curated by Paloma Rose Joseph as part of Public Screenings Season 1 by Aldona Video Club
Meshes of The Afternoon by Maya Deren and Alexandr Hackenschmied (1943) | Silent, 14 mins, USA
Caprice by Joanna Hogg (1986) | English, 26 mins, UK
Televisnu by Prithi Gowda (2010) | English, 15 mins, USA/India
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Mala Pump House | ESG Building
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The Old GMC Complex | ESG Building
