ABSTRACT
The commercial and ideological habits of our society favor narrative with as definite a closure as possible once the narration is consumed one can throw it away and move on to buy another one. The relationship between images and words should render visible and audible the 'cracks' of a filmic language that usually works at gluing things together as smoothly as possible, supporting an ideology that keeps the workings of its own language as invisible as possible. What every feminist, politically made film unavoidably faces is at once: the position of the filmmaker, the cinematic reality and the viewer's readings. A film, in other words, is a site that sets into play a number of subjectivities, those of the filmmaker, the filmed subjects, and the viewers. Making films from a different stance supposes: a re-structuring of experience and a possible rupture with patriarchal filmic codes and conventions; a difference in naming the use of familiar words and images.
