Film Review: ‘God is a Woman’ directed by Andres Peyrot
Rating: ★★★★☆
“God is a Woman (Dieu est une Femme),” thoughtfully crafted by director Andres Peyrot, stands as a cinematic revelation that graced the Special Event Opening Film slot in the Settimana Internazionale della Criticaat (International Critics’ Week) section of the esteemed 80th Venice International Film Festival.
The documentary revisits the 1975 expedition of acclaimed French Oscar-winning director Pierre-Dominique Gaisseau. Gaisseau’s journey led him to Panama, where the Kuna community holds women in sacred reverence. Accompanied by his wife and their young daughter Akiko, Gaisseau immersed himself in Kuna culture for a transformative year. Tragically, this remarkable endeavor faced financial constraints, leading to the seizure of the reels by a bank. Fast forward five decades, and the Kuna people continue to await the revelation of their lost treasure – a film that has transcended reality and become a legend in their oral tradition. A twist of fate occurs when an obscured copy is unearthed in the city of Paris, setting the stage for a mesmerizing narrative that captivates the audience.
Andres Peyrot’s meticulous craftsmanship unfolds the documentary like the development of a photographic negative in a darkroom, with each frame gradually revealing its profound intricacies. The result is an audience left in awe, engaged by the unfolding narrative. The film takes on the form of a metaphorical treasure map, guiding the viewers through an intricate maze of clues and revelations. Every detail matters, inviting the audience to become active participants in the quest to unearth the treasure – the enigmatic story of Pierre-Dominique Gaisseau and the captivating events that enshroud his work. Each fragment of this map becomes a cherished memory, recounted by those who were fortunate enough to be part of the filmmaking journey. These memories are akin to precious puzzle pieces that, when assembled, construct a rich tapestry of the past.
Pierre-Dominique Gaisseau emerges as a living, breathing identity within the documentary. The juxtaposition is akin to witnessing a person afflicted by Alzheimer’s disease, their cherished memories gradually slipping away. However, the documentary resurrects these memories through the voices of those who were present during the filmmaking process. Each recollection becomes a narrated puzzle piece, and it is through this intimate narrative mosaic that the audience extracts meaning and discovers the cinematic treasure hidden within.
The documentary assumes the role of an airplane’s black box, with the camera acting as the beacon of truth in a sea of uncertainty. Peyrot’s work is further accentuated by impeccable sound design, breathtaking cinematography, and seamless editing, delivering an immersive experience that transcends the ordinary.
The loss of Pierre-Dominique Gaisseau’s original film is not merely a historical footnote but a void in the identity and history of the Kuna people, a theme poignantly explored in this documentary.
What distinguishes “God is a Woman” is its multi-perspective narration. Each segment introduces a different participant in the filmmaking journey, echoing the documentary’s central theme – the profound and intimate sharing of Pierre-Dominique Gaisseau’s cinematic odyssey. This narrative approach breathes life into a forgotten treasure, ensuring its enduring legacy.
In conclusion, “God is a Woman (Dieu est une Femme)” is a profound cinematic rediscovery that resurrects a lost masterpiece and places it firmly in the annals of history. Andres Peyrot’s meticulous craftsmanship, coupled with his moving narrative, establishes this documentary as a touchstone for cinephiles and critics alike. It is a captivating journey that reaffirms the timeless power of film to preserve and illuminate the stories that define us.
