The Shape of Water is a feature documentary that
tells the stories of powerful, imaginative and visionary women confronting
the destructive development of the Third World with new cultures
and a passion for change. The film takes us to Senegal, Israel/Palestine,
Brazil, and India where these new cultures, alongside old traditions,
end female genital cutting (FGC), offer innovative forms of opposition
to the Israeli occupation of Palestine, and show how women are spearheading
the implementation of renewable resources and rainforest preservation
by tapping trees to obtain rubber. The Shape of Water
also takes us to a vast co-operative of rural women in India (SEWA)
and, in the foothills of the Himalayas, to a farm, Navdanya,
set up to preserve biodiversity and women’s role as seed keepers.
By interweaving images, words, and the actions of Khady, Bilkusben,
Oraiza, Dona Antonia, and Gila The Shape of Water
offers fresh and nuanced insights into the lives of women in the
Narratives of rescue and salvation often underlie documentaries
about women’s lives in the Third World. In contrast, The
Shape of Water offers a complex look that is simultaneously
inspiring and yet candid about the contradictions that face women
in the Third World as they make change. The rise of globalization,
the end of the Cold War, environmental degradation, and failed development
in the Third World have increasingly feminized poverty despite women’s
entry into the labor force in unprecedented numbers. In contrast
to many documentaries about the lives of Third World women which
present the women as passive victims of their circumstances, this
film explores women’s efforts to generate vibrant alternatives
which dispel apathy by addressing the root causes of poverty.
It traces the vital efforts of women who are pioneering social justice
and celebrates their success while probing the tensions in their
Scenes from the film.....
We open in Brazil’s Amazonian rainforest,
where we accompany Oraiza and Taio who tap trees for rubber. We
watch the precise cuts being made, cuts which allow the trees’
red bark to release milky latex into battered tin cups. We follow
the rubber as it enters the factory for processing – encountering
the din of the factory as we watch the young men, the blades, the
granulators and the ovens produce the rubber for Pirelli tires.
Later we walk into the life of Dona Antonia. a rubber tapper and
a mother who insists that rubber, a renewable resource, is central
to the preservation of the rainforest. We witness her stoic portrayal
of the assassination of her close friend, Chico Mendes, an icon
of unionization and crusader against agri-business and environmental
degradation. While in her garden, as well as over scenes of women
and children standing in the front lines of the empates/demonstrations
against the massive tree-cutting machines of agribusiness she communicates
– through songs and words – her vision for preserving
the environment and a better life for all.
In Senegal we meet Khady who tells us what it
was like to be cut at the age of seven and watch a lively discussion
amongst women about the reasons to preserve or abandon this practice.
We encounter young women who discuss the profound relevance of FGC
in their lives, and attend a live performance by ALIF, a feminist
rap group in Dakar. The voices of other women are heard over extracts
from dramatic performances against FGC, street theatre produced
by groups of villagers and used to spread this dynamic new culture
forged out of an ancient tradition. We also meet Mariam, who used
to do this cutting and has now stopped the practice.
We have danced with the knife for many years.....
Images of women dancing with knives, throwing them away, using
them to plant gardens are underscored with stories of the struggle
to end genital cutting and the consequent creation of dynamic new
cultures. Yet these revolutionary ideas also create conflict:
We’re not doing it any more. But
we want the government to understand that if you vote a law to stop
doing something that has earned you a living all these years, you
have to help us make a living in another way.
We then travel to Israel. A shot of a Women in
Black (WIB) vigil, a women’s peace vigil which has worked
courageously for years to end the Israeli occupation of Palestine,
fills the screen while an animated Gila tells us about WIB, dismantling
checkpoints, and the resistance to the Israeli occupation of Palestine.
Smadar an Arab (non-white) Jew who migrated to Israel three years
ago – tells us about WIB and Israeli racism, evoking images
of the ideals used to attract Jewish settlers into Palestine:
they speak about little houses and scenery
ke the Alps, like red roofs, nice chubby cows, grazing grass
Smadar Lavie, Arab-Jewish citizen
Over tense imagery of urban checkpoints we progress along the fortress-like
presence of the recently built Security Wall – called the
“Apartheid Wall” by many. It is at this wall that we
meet the women whose commitment to peace is realized by creating
security in everyday life.
This wall anchors the geography of racism in Jerusalem.
Through a bustling day in the market in Ahmedabad, India,
we see bright colors, fabrics, food, clothing...women of all ages,
religions, and builds, working at their stalls, buyers and sellers,
taking care of a day’s business. These images transport us
from the rainforest of Brazil to the Self-Employed Women’s
Association (SEWA) in India, and on to the life
of Hiraben, a sixty-year old market trader. Hiraben recounts how
she and other women market traders were kicked and beaten for trying
to sell their wares but, how, thanks to their determined self-organization
into SEWA (Hindi for service), they are able to conduct their trade
with dignity and in peace. SEWA is a co-operative of over 700,000
women, some of whom arrive at the newly renovated SEWA buildings
and bank to work or apply for loans or microcredit. The power of
the women who ensured SEWA’s survival is apparent as we watch
local women at the SEWA offices, making deals and signing on the
dotted lines.... their signatures made possible through SEWA’s
already-in-place literacy program. More than just a means for an
entrepreneur to thrive, SEWA humanizes economics, considering each
applicant’s individual situation and providing a health insurance
plan as needed.
We travel through the streets of Ahmedabad with Hiraben, and visit
with Bilkusben, a Muslim kite-maker whose products we see in the
annual January kite-festival in Gujarat. Shots of meetings of thousands
of rural women demonstrate the working democracy of SEWA, with Hiraben
representing its operation in practice.
The themes of the film – new traditions, peace, the environment,
social justice – are revealed through the personal stories
of the five women. In so doing The Shape of Water pays tribute to
women around the world who are creating social justice, laying bare
the tensions and contradictions that ground their commitment.
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