Two women, seemingly worlds apart, find themselves stuck together in an elevator. One is a fan of cosmetic surgery, the other wears a niqab. They’re about to confront their differing views on life, love, religion, and the various ways women’s bodies are policed.
With Chiennes de faïence, Marie-Hélène Panisset offers a work that delves into women’s right to bodily autonomy, but also into the dialogue between Québécois, regardless of appearances.
Being Liberated
What does it mean to be free, to be liberated? For us Westerners, we have this impression (influenced by the Southern Cowboys) that our way of life represents the only true freedom. After all, if a woman wears a piece of fabric on her head, or on her body, it’s clearly because she isn’t free. She’s indoctrinated. Right?
Chantal (Sonia Quirion) et Salima (Megan Saunders)
We don’t really imagine the opposite. For us, a free woman is a woman who shows some skin. But what if the decision comes from the woman herself? If this woman wants, of her own volition, to wear what we might call a uniform, isn’t she then free? If we let her, of course.
Marie-Hélène Panisset chose to shoot her film in Sherbrooke. Why am I mentioning it? Because I’m from there, obviously! Just kidding. It was a bit of a coincidence that led her there. Between a good acquaintance living there and the fact that there are competent film professionals, it was also the ideal location for the shoot. Do you know many places where you can find a pink elevator? It might seem like a detail, but this colour, often associated with women and often seen as garish, was perfect for playing with clichés and preconceived ideas.
Yes, there’s a slightly kitschy side, something the director fully embraces. But it helps soften the film’s themes and guide the viewer in the right direction. Because, a bit like with Two Straight Girls at a Queer Fest, the director uses humour and clichés to deconstruct them and make the audience think. This time, to question women’s freedom to control their own bodies.
Not So Subtle
The comedic aspect of the movie also allows the director to drop the subtlety and hit us square in the face with notions of freedom, racism, and secularism. I say “thrown at us” simply because the characters don’t leave much to the imagination. On the contrary, Chantal (Sonia Quirion) gets straight to the point, saying things like “people like you” or “don’t worry, there’s no pork in it.” As for the young woman, she has no qualms about responding to the forty-something.
But this lack of subtlety turns out to be a great way to make the audience smile. Indeed, the director manages to show extremely real characters despite the caricature. Chantal represents a bit of everyone. She’s neither mean nor racist. She just lacks what many people lack: the opportunity to get to know people in order to understand them.
Chiennes de faïence also shows very well that Salima (Megan Saunders) is not “a Moroccan” or “a Tunisian,” but simply a person with values and beliefs. She also has reasons for being who she is. But we’ll never discover that if we don’t take the time to talk to each other.
Throughout the story, there’s a lovely evolution from the characters. There’s also a desire not to isolate the subject and make it a simple issue of immigration or religion. The characters of the Youtuber and Doctor Loiseau (Charles Papasoff) are a way of broadening the question of freedom and human relationships.
Moreover, the director never attacks men. While her character might be an old-school guy who flirts with just about every woman he passes, he’s not meant to be a punching bag for “evil men.” True to herself, Panisset presents characters with both good and less good sides, without judgment. That being said, we understand quite well that this man has a problematic behaviour. But despite everything, he’s not shown in a negative light.
A Little More…
Through its playful approach, Chiennes de faïence aims to bring people together and spark respectful debate. Watching the film, you get the impression that there’s not much serious going on. And yet, once the screening is over, you feel a strong desire to discuss, to meet, to approach people.
Chantal et le docteur Loiseau (Charles Papasoff)
After all, how can we form an egalitarian and respectful society if we don’t reach out to others? In recent years, we’ve had fewer and fewer discussions. Everyone stays in their corner, despising the other. But perhaps by talking with that other person, we’d realize that beyond the differences, we all have things in common.
So I invite you to go see this film and take the time to discuss it afterwards. With a friend, or even better, with the person next to you. Ideally, someone you don’t know. I swear you’ll want to.
The film will be presented with a Q&A session across Quebec: Roberval on May 28, Dolbeau-Mistassini on May 29, Outremont on June 1, Ste-Foy on June 2, Joliette on June 3, Beloeil on June 4, and St-Hyacinthe on June 5. And in other Canadian cities.
