Interesting prequel, you can see why she decided to become a fish.
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After a string of abusive relationships, Wanda abandons her family and seeks solace in the company of a petty criminal.
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Interesting prequel, you can see why she decided to become a fish.
there’s an acrid authenticity to the character of Wanda: at once submissive, passive, and tenacious — a flickering blue flame, a pilot light ready and aching to burn it all down.as the first narrative feature ever to be written, directed by and starring the same woman (Barbara Loden), Wanda is undeniably herstoric, without even really trying to be, which is maybe why it succeeds. i know i’ve talked about this before and often, but contemporary studio feminism is so rooted in women being portrayed as physically strong, perfect angels devoid of fatal flaws. Wanda opens with her being late to her own divorce court hearing and eagerly pawning her kids off on her ex-husband. yee-haw! the new hollywood movement is for the girls too!
The crushing, mundane, aimless despair of everyday reality and our understandable but failed attempts to retreat into fantasy. "If you don't have anything then you're nothing. You may as well be dead. You're not even a citizen of the United States."
An aimless, downtrodden woman leaves her family and drifts through the Pennsylvania coal country, eventually falling in with a petty criminal.
Barbara Loden directed Wanda in 1970, a seminal work of independent cinema that she also wrote and starred in.
It is widely recognized as one of the first American narrative features to be written, directed, and starred in by a woman, capturing a gritty, authentic portrait of life on the margins.