A mute woman gets raped twice coming home from work and decides to take matters into her own hands. She dresses suggestively and roams the streets alone, reaking vengeance upon anyone who tries to take advantage of her.
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I really think its a wonderful commentary on rape culture and how women crack from simply not being left alone. To me this feels like a feminist Taxi Driver.
The only problem was the party scene when they had a saxophone audio while the band member was playing a trumpet.
The woman that society drove mad. A smart and thrilling study about feminism, its place in our society and what happens when it's taken to the extreme. Darkly funny at times, horrifying at others, Ferrara created the perfect mix between 80's cheesefest and a thinking man's revenge flick with an incredibly complex and enthralling performance by Zoë Lund, fantastic visuals and a kick-ass score by Joe Delia.
Ferrara's masterful mix of exploitation cinema and feminism resulted in this impressive film that stands the test of time even in this more puritanical age. Zoe Lund is simply astounding in the title role. Ferrara has had a checkered career at best but this may be his greatest achievement.
A heroine that sways from vigilante to cold blooded killer without the film ever even suggesting the slightest hint of judgement, there isn't one single attempt to direct your opinion of the main character. That knife, being held like a penis, masculinity used as a weapon is pure gold. A nice take on rape culture, patriarchy, machismo and feminism.
The greatest element of Ms. 45 is not so much its inspired riff on Death Wish from a feminist perspective, but actually Lund's character in terms of ever-changing sympathy. She can alternately be considered a gender avenging angel or a murderer, but where the former ends and the latter starts is debatable throughout each killing. It forces the viewer to think of how they themselves define equality every new death.
Ms. Lund does with a simple gaze what many decent actresses attempt in many takes and lesser results, which is to evoke fear, desperation and absolute hatred for those who have taken their will on her. What comes next is served up with softspoken flair and genuine formal rigor. This is Abel Ferrara flattering and raising the bar for the explotation genre. Ultimately, a moral work.
The jazz. Zoe Lund's face. Her neighbor's hats. How that one girl she works with looks like Juliet Berto from certain angles but has the same jawline and accent as Ferrara. The fact that the dog gets second billing in the end credits.