ABSTRACT
This essay argues that Wanda is an important example of women’s independent filmmaking. Although initially viewed through the lens of women’s liberation, Wanda was out of step with contemporary second-wave feminist demands for positive portrayals and subsequently marginalized but has come to be recognized retroactively as an important feminist film. Rather than the forward march of progressive feminist politics, Wanda imagines a different feminine temporality, one that averts and refuses the constraints of linear time via tardiness, dawdling, and drift.
