The feminist at the keyhole

In a society persistently perpetuating patriarchal systems, feminism and intersectionality are a necessary reaction against repressive power relations such as sexism, misogyny, racism and specism.

In September 2018, the International Art Festival of Chouftouhonna held in Tunis, gave the possibility to more than 150 women and women-identifying artists to access a safe space where to discuss feminism, gender and intersectionality. Such encounter amongst women and women-identifying people belonging to different cultures, classes and structures of oppression allowed us to cross borders, both visible and invisible, and to unite under a wholeness rooted in the experiences of each; each of which has been affected by multiple levels of domination and injustices. Discussions have interweaved between the political and the personal, the public and the private, the rational and the creative contributing in the shaping of a common vision where gender equality, access to public spaces, reproductive health, sexual freedom, self-determination were recognized unalienable rights.

Unfortunately, reality, is far from the latter. It seems like the “concession” of women’s suffrage and other feminist motions were enough to consider feminism as a movement confined to the history books. Like most of other social injustices, feminism has been ostracized and depicted as a “men hating” ideology in the attempt to diminish it.

It is for this reason that now, more than ever, there is a need fro women to reclaim their role in the political/social scene and to model spaces where our voices can be heard over the gibbering of patriarchy.

This is exactly the aim of “Feminist at the Keyhole”: an independent grassroot audio-visual experiment, which allows us to exchange glances with feminist people and to learn more about their struggle in fighting sexism and patriarchy.

During the International Feminist Art Festival of Tunis 2018, Ubrec Collective – producers of “The feminist at the keyhole”- realized a first round of 37 interviews focusing on two main questions: why we still need feminism nowadays and how need is translated in each one’s daily life as a form of resistance. The interviewers were asked to talk in the language they feel more comfortable in, not only for a matter of fluidity and expression, but also because languages have a political connotation and – for some – to use their mother tongue is a political statement against the effects of colonialism.

The title “The Feminist at the Keyhole” was inspired by Judith Mayne’s work “The Woman at the Keyhole”, one of the most significant contributions to feminist film theory since the 1970s tackling issues related to female representation and spectatorship.

When we imagine a “woman” and a “keyhole,” it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. I am not necessarily reversing the conventional image, but rather asking­ as do, implicitly or explicitly, (…) ­what happens when women are situated on both sides of the keyhole.1

1 The Woman at the Keyhole, Judith Mayne, 1990

Likewise, we’ve wanted to situate women on both sides of the keyhole and document the outcome of such encounter. The immediate connection between the interviewees and the interviewers – due to a common understanding – fostered the creation of a safe space where powerful and intimate portraits nourished. A few men were involved as parenthesis in the discourse, on condition that they actually were feminists and, thus, able to confront their privilege as power bearers.

Some interviews have been screened through the interactive experience of the Augmentated Reality (AUREA). During the Short Film Festival “Passaggi d’Autore” 2018 held in Sant’Antioco (Sardegna), roughly 7 portraits were integrated in the urban streets by using the AUREA: hidden multimedia contents, visible through the use of an application and smartphones.

Through the doors of selected houses in Sant’Antioco, it’s still now possible to vision extracts of the interviews shot in Tunis tackling feminism. By doing so, images, voices and direct experiences occupy urban spaces modifying the individuals’ relation with the territory. In fact, the latter becomes an interactive space where current issues become an experiencial flow. The intention is to replicate such experience in other urban settings starting from Tunis and to continue giving voice to women with additional interviews. In order to find the selected doors in Sant’Antioco, here’s the link to the map


The Feminist at the Keyhole.

Direction: Cladinè Curreli.
Direction Assistant: Eleonora Gatto.
Direction of Photography: Cladinè Curreli.
Assistant Dop: Eleonora Gatto.
1st Camera Operator: Eleonora Gatto.
2st Camera Operator: Cladinè Curreli.
Boom operators: Amanda Prieber, Jenny Way
Sound Processing and mix: Roberto Cois, Cladinè Curreli.
Editing, coloring and post: Cladinè Curreli.
Translations and subtitles supervisor:  Eleonora Gatto.
Naming, writing and communication: Cladinè Curreli, Monica Mureddu.
Augmented Reality Writing and Design: Monica Mureddu, Cladinè Curreli.
AR Videography: Monica Mureddu.
AREditing: Cladinè Curreli.
AR supervisor: Mariano Equizzi.

People being interviewed:

Jenny Way, Tsai-Shan, Elyssa Eydet Brunel (Quarteluna Theatre), Floriane Fontan (Quarteluna Theatre), Ela (Quarteluna Theatre), Jeanne Peltierlanousky (Quarteluna Theatre), Lise Avignon, Reem Sabra, Derya Aydin, Sophie Anou (, Daiffa Dessine, Lylia Afif, Rima Said ( , Marzouk Aycha, Sana Daly, Isabelle Garbani, Marie Gerwing, Kolthoum Frikha  (FB: netfanen b’hkouky), Paola Zichi, Oumaima Maatallah ( Chronicles from the metro), Bochra Taboubi, Khaoula Stiti, Iaznam Zianam (, Khouloud Adouli, Myriam Damergi, Anna Luna Serlenga and Zine, Farah Trabelsi, Zamouri Khaoula (instagram, Amine Kchaou (Instagram : amine_kchaou), Mona Elshimi, Karam Aouini, Marianna Liosi (, Dani Mosimann, Ouertani Anis, Dani Mosimann, Ouertani Anis, Mel Favre (Cie Sapharide), Debouky Hajed, Marietheres Jesse (

Get involved in the project!

CUMBIDA! condividi! SHARE!

Eleonora Gatto

With her camera wrapped up in a black and white kuffya, Eleonora Gatto has been living and travelling extensively throughout the Maghreb and Mashreq region. By combining her interest for social changes and uprisings, socio-anthropological dynamics and urbanism, Eleonora often offers an alternative and unique insight to the mainstream narrative.

Lascia un commento

Questo sito usa Akismet per ridurre lo spam. Scopri come i tuoi dati vengono elaborati.

Utilizzando il sito, accetti l'utilizzo dei cookie da parte nostra. maggiori informazioni

Questo sito utilizza i cookie per fornire la migliore esperienza di navigazione possibile. Continuando a utilizzare questo sito senza modificare le impostazioni dei cookie o cliccando su "Accetta" permetti il loro utilizzo.