Skip to main content

Pratibha Parmar's 'My Name is Andrea'


My Name Is Andrea: fury & tenderness is now

Pratibha Parmar’s My Name is Andrea, about the radical feminist and writer Andrea Dworkin (1946–2005), explores who Andrea was. It also exposes the ongoing violence inflicted on women’s bodies and spirits across the globe, through featuring five diverse actresses — each one evoking a different aspect, experience and decade of Andrea Dworkin’s life.

Pratibha on set with actress and activist Amandla Stenberg who plays young Andrea.

In the spirit of contemporary independent women’s film making, the film’s being made in parts and the first twelve minutes of the film is shot and edited.

And it’s an impressive twelve minutes. This is what Gloria Steinem said after viewing it–
…I can see that this is going to be a film like no other — lyrical, poetic, referential, journalistic, placed in time, deep, complicated…. And it was so moving to me to see what I assume truly is Andrea as a little girl. Nobody but you could take her on as a human being, thinker, rebel and writer and unique force in the world — and I’m proud to be there with Andrea as a raging prophet.


She has now joined the project as an Executive Producer.

Julie Parker Benelux (co-founder of the legendary Chicken & Egg Pictures) has also joined the team as an Executive Producer.

The British Film Institute — one of the project’s funders) — was ‘deeply moved’ by the 12-minute clip and also continues its support.

We can contribute, too, with cheques made out to Kali8 Productions and posted to–

Pratibha Parmar
1563 Solano Avenue #340
Berkeley
California 94707

OR PAYPAL via Kali Films’ Donate Page

OR Contact Kali Films directly at info@kalifilms.com to make a tax deductible gift by midnight December 31, 2016.

.......
And P.S. I can’t resist adding Leonard Cohen’s view of Andrea Dworkin’s Intercourse. I was surprised to read it, in a Hot Press interview with Joe Jackson (1988). But not surprised by the reach of Andrea’s influence–

…the whole range of arguments in that book is quite radical and complex and beautiful. It’s the first book I’ve read by an author, masculine or feminine, that has a defiance of the situation, which is deeply subversive in the holy sense — it’s other-worldly. She says that this world is stained by human misconception, that men and women have wrong ideas — even if they are ten million years old and come from the mouth of god, they are still wrong! The position in that book is so defiant and passionate that she creates another reality and just might be able to manifest it. It’s from that kind of appetite, with the way things are that new worlds arise, so I have deep admiration for Andrea Dworkin.



I imagine that My Name is Andrea will have a similar reach. We don’t have enough films by and about activist women artists and writers and the combination of Pratibha Parmar and Andrea Dworkin feels irresistible.
SaveSaveSaveSave

Comments

Popular posts from this blog

NZ Update #13: The Brilliance of Molly O'Shea

John O'Shea of Pacific Films is a legend in the film history of Aotearoa New Zealand. He died in 2001, aged 81. His daughter Kathy O'Shea, who died in 2010, was a legendary editor. And his grand-daughter, filmmaker Molly, gave this year's John O'Shea Memorial Address at the annual conference of New Zealand's Screen Production & Development Association (SPADA).

The address would be 'delivered by Dame Jane Campion and special guest', according to the SPADA programme. And what a special guest Molly was.

Her address is an instant feminist classic. Just brilliant. Wherever you live, if you want to persuade someone to give women filmmakers a go, entertain and inform them with this clip.
I hope that some of those producers who gave Molly a standing ovation then seized the opportunity to ask to read her pilot script, described by Jane Campion as 'incredible'. Go Molly! I can't wait to see your work.





NZ Update #3: WIFT New Zealand

This is Part 3 of an NZ Update 4-part series. Part 1 was Gender Breakthrough in New Zealand Film Commission Funding. Part 2 was a letter to Deputy Prime Minister and Minister for Women, Paula Bennett, about the New Zealand Screen Production Grant. Part 4 is a not-quite-A-Z of New Zealand women directors and some writers.

So how has Women in Film & Television New Zealand (WIFTNZ) responded to the lack of gender parity between women and men who write and direct, in particular the lack of gender parity in allocation of taxpayer funding? For example, does it endorse Telefilm Canada's statement, referred to back in Part 1 and to some extent implicit in the New Zealand Film Commission (NZFC)'s latest Annual Report?–
Based on industry recommendations that these two roles require immediate critical attention, gender parity amongst directors and screenwriters was identified as a priority (emphasis added).The simple answer: No-one Knows For Sure. And because of this, I believe it'…

Saving Mr. Disney: A Lesbian Perspective By Carolyn Gage

To stay focused when I'm writing intensively, I go to the movies in the afternoons. It's a kind of meditation that includes the walk down the hill to the cinema and back up again afterwards. And a few weeks ago, I saw three women-directed movies in three days: Rama Burshtein's Fill The Void, Anaïs Barbeau-Lavalette's Inch'Allah and Nicole Holofcener's Enough Said. Maybe things have changed, I thought to myself, ever optimistic. But I also noticed that men wrote and directed Catching Fire, from a novel by a woman, about a young woman and produced by a woman. And then I read Vocativ's analysis of 2013's 50 top-grossing US releases. This shows that almost half were Bechdel Test-passing films and that they did better at the US box office than those that weren't. BUT except for Frozen, which Jennifer Lee co-directed (and wrote) men directed all 50. And then at the weekend, all three of the new releases reviewed in our local paper (with enthusiasm) told s…