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In 2009, Carole Roussopoulos,
a feminist filmmaker,

began a documentary film,
a few months before dying,

about her friend
and "companera":

Delphine Seyrig.

This unfinished project
was the starting point of this film.

It is time to present to you,
Madam Minister,

a total misogynist in gastronomy:

the food columnist, Christian Guy.

I'd like his opinion:

Are woman better cooks than men?

No, women don't really cook.

They do the daily cooking
but they don't really "cook".

KEEP CALM SISTERS!
OUR SECRETARY WILL EXPLAIN...

MEN COOK FOR PROFIT
WOMEN COOK FOR FREE

The best evidence is that
there's never been a great chef

who was a woman,

and there's never been
a great female food critic.

That can be explained in many ways.

Because being a great chef

is a lot of work,
it's very difficult.

My problem with women cooks...

women cooking...

FOR FREE!

...on an everyday basis,

but we're not talking about

daily cooking...

- It's very tiring.
- I agree.

INDIGESTIBLE?
NOT FOR MASO!

They're not dedicated.

Madam Minister will reply.

THOUSANDS OF WOMEN ARE WAITING

You're right, women don't think.

They let the meat burn
every day.

When you sit down for dinner,
it's never good!

It's well known.

Bravo! Bravo! Bravo!

NO TV IMAGE IS WILLING

NOR CAPABLE OF EXPRESSING

WHO WE ARE.
WE WILL TELL OUR STORY

THROUGH VIDEO

DELPHINE AND CAROLE

INSOUMUSES

So Delphine...

To earn a little extra money,

I used to organize video workshops

on Friday evenings,
Saturdays and Sundays

for 200 francs, back then.

For a group of 6 women.

We had a small space
in the 14th district,

rue Hippolyte-Maindron.

Two women knocked on the door,

wanting to participate
in the workshop.

I agreed.

I asked their names.

They offered a down payment.

I said no, they could pay
at the workshop.

So they came to the course
the following weekend.

I saw the name "Delphine Seyrig"
but I was so ignorant,

I had no idea who she was.

During the workshop,
one of the students

was shocked...
She said to me:

"Don't you know who she is?"
I said: "No..."

She said: "Delphine Seyrig!"
I said: "Yes."

She asked: "Don't you know who she is?"
I said: "No!"

The fact that I didn't know

who she was

turned out to be

positive between us.

Because women were terrified
by Delphine.

Let's go over the top,
let's be completely unreasonable.

Ask for a dress

that's more sparkling,
less commonplace.

A dress the colour of the moon.
And we'll see.

Go at once.

Zoom in!

Open one diaphragm.

Go ahead, read.

Feminine.

Relating to women.

The feminine body.

Feminine grace.

Feminine charm.

See femininity.

Feminine intelligence.

The eternal feminine.

- Yeah.
- Eternal feminine.

Check masculine.

Masculine.

Relating to men.

She's quite pretty but too masculine.

Masculine courage.

Delphine quickly understood
how to use video in a way...

the subversive use of video.

We stayed...

We became friends

after the course.

And with Ioana and a few others,
we started

working together.

We all have our reasons
for working with video.

For me,
it's mainly because I'm an actress

and I interpret
other people's work.

I like to have
my own form of expression

and say what I think about things,

or address issues that interest me.

Zoom in a bit more.

Wait...

The framing's changed.

Adjust the focus.

The light...

Zoom out, Delphine.

You're cutting her chin.

Delphine Seyrig, your career
encompasses both theater and cinema.

Theater with Chekhov, Tourgueniev,
Beckett, Pinter and Arrabal.

Cinema with Bunuel, Truffaut,
but also women,

like Marguerite Duras, Chantal Akerman
and Liliane de Kermadec.

You are considered an intellectual,

having played
difficult avant-garde authors.

I think "intellectual" is inappropriate.

I'm not an intellectual.

I don't have a degree or diploma.

I've read "The Three Musketeers",

I read a lot of books in my youth,

but I don't spend
my whole time reading,

writing or doing research
into intellectual matters.

I'm an actress.

It's new that actors
are now considered intellectuals.

I was never a cinephile.

I think that helped me

to not feel intimidated
by great authors

who might have inhibited me.

It was never my intention
to work in cinema.

I had never even heard of video.

I had been working for 3 years
for a very sophisticated magazine:

Vogue.

There, I learned the beauty
of photo printing,

working with paper,
and I acquired discipline.

After 3 years, I got fired
for very unfair reasons.

That day, I left in tears.

I was 24.

All I had was my high school diploma

but no other degree.
My pockets were empty.

Quite by chance,

I met Paul Roussopoulos
and Jean Genet,

who were having lunch together.

Genet immediately asked me
if I had been given a redundancy check.

He took the check and said to me:

"From now on, you'll be a free woman.
You'll no longer have a boss".

It seemed like
an unachievable dream.

He told me a revolutionary machine
had just come out.

All three of us
went to the boulevard Sebastopol,

we bought the second portable
video camera sold in France.

Jean-Luc Godard bought the first one
2 weeks before.

Everybody thought
this machine was miraculous.

Back then, I used to say

Mr and Mrs Sony created a machine
to give a voice

to the people directly involved.

What struck me was that the people
directly affected never had a say.

Somebody else always spoke for them:

specialists who spoke on their behalf,
trade-unionists, and so on.

Many people, especially women,
never spoke for themselves.

I realized when I was very young

that when women
were given an opportunity

to talk about any given topic,
they had very interesting things to say,

they didn't need someone else
to speak for them.

We don't reproduce ourselves,

therefore we don't perpetuate
the goods of the bourgeoisie.

We don't believe in inheritance.

That's over.

In any case,
what the hetero-cops hold against us

is the fact that they made us,

they'll continue to make us,

give us kids,

and so on.

We don't agree with these morals.

We don't agree with society's
core institution: the family.

And we don't agree
with society as a whole.

Therefore, the only acceptable
political stance

is a revolutionary stance.

I think that the point of vampire stories

is to dissuade young girls
from going out alone at night.

They're meant to scare them.

But this way of terrifying people

can sometimes turn against those

who tell such stories

because they turn out
to be rather appealing.

You end up asking yourself:

"What might happen
if I do go out alone at night?"

"Will I meet one of those beings
which are said to be so monstrous?"

To me,
it's the same thing with vamps.

Men were warned about women
who would wreck their lives,

split up their households.

They were all threats.

I want to work on things

that are closer to reality.

First of all,

I want to do things...

that are enriching for me.

I admire today's women's movements
that are trying to change

the situation of women.

Whether it's about their work,
their wages...

or another form of oppression:

the image they're expected to live up to
and that's imposed upon them.

These are the issues
I'm most interested in.

I think it's important

that women in cinema
start talking about themselves.

Up until now,
we have only seen women

as portrayed by men.

It's very important that women
start portraying themselves.

MORE UNKNOWN THAN THE UNKNOWN SOLDIER
- HIS WIFE -

One of the greatest actions

was the wreath of flowers
for the unknown soldier's wife.

It was done with such humour,

it just seemed so appropriate.

That's what the movement was about.

They were so funny. Cathy Bernheim,
Catherine Deudon, Christiane Rochefort...

They were extremely funny.

It changed my life.

Because the
Women's Liberation Movement

changed the lives of all the women

who were part of it.

Period!

It's difficult to understand nowadays

but we just had great time together.

The meetings we had

didn't feel like meetings

where we felt obliged to go.

We met up with friends

we went dancing,
ate out in restaurants, we laughed...

We made up slogans...
not me personally...

we twisted song lyrics.

It was

a really intense, creative time.

The first time we had sex,
I felt nothing, like with my husband.

He was sexually very potent.
We had sex again and again.

The 6th time, I felt something
I'd been trying to feel for 5 years.

I came. I cried.

He looked at me and said:
"What's the matter?"

He was 20.
He knew nothing.

I said: "I think I've come
for the first time in my life."

"I didn't know women could come!"

He was 20.

"I can't believe it, Marie-Therese!
I didn't know."

From that moment on,

and that's why I love him
and can't be mad at him.

That guy kept going for 3 hours
until I came.

He cuddled me, caressed me,
kissed me non-stop,

and he kept it up nearly 3 hours
during sex, holding himself back

until I came.

It's true, until I came.

Now it takes me 45 minutes,
sometimes 30, to come.

Not many guys would wait
half an hour.

I propose...

a contract.

A contract
which is fair to both of us.

Since we both like
what is exceptional...

l'll come close to you...

now.

We'll spend a few hours together.

And then, whatever happens,
we'll never meet again.

Do you agree?

You asked me why I'm a feminist.

I'd now like to ask each of you

the origins of your feminism.

How about you, Delphine?

In 1969, I had read

writings by American women

who had got together.

I realized that similar groups of women
also existed in Paris.

I went there to listen to them
and mingle with them.

Spending time with those women,
I realized

I was deeply moved when
they discussed all kinds of topics.

Topics, which were previously discussed

behind closed doors,
which were rather shameful,

had become noble topics.

All the issues we wanted to raise
had become noble.

They were no longer considered
lousy, trivial or shameful.

That's when I realized
that what had emerged for me

from the May 1968 events was not

what I had imagined.

It had nothing to do with theatrical
or cinematographic forms.

It was feminism.

From that moment, I followed

the movement.

I can honestly say
I followed the movement.

It was a great revelation for me

to be able

to speak openly...

and understand the rebellion
I went through as a teenager.

As an actress,
it was priceless to me.

I understood why I couldn't accept
certain things in cinema and theatre.

It also helped me

to see things more clearly,
to have personal opinions

and not be impressed
by the opinions

of my employers,
who were all men,

whether they were directors
or producers.

All that
has enormously influenced my life

and has given me strength.

We all shared
those magnificent moments,

powerful moments,

which all started with
the Manifesto of the 343:

343 women who declared
they'd had an abortion.

We risked criminal prosecution
for revealing this.

All 343 of us.

Some famous women
also signed the Manifesto,

revealing they had aborted.

The Manifesto was like a bomb

both in France and abroad.
The bomb that officially

got feminism going.

It's the first big
feminist demonstration

to take place in Paris since 1936.

About 2,000 women of all ages
are marching

from Republique to Nation
under the banner of the MLF:

the Woman's Liberation Movement.

No, it's plural,
the Women's Liberation Movement!

Madam, what do you think of this?

What do you think of this?

I think they're right.

- They're right?
- Yes.

Why aren't you marching with them?

I'm too old.

No! Just for a moment...

She's taking a picture of me!

- What's it all about?
- For free and legal abortion.

And for information on contraception.

They shouldn't shag!

- You never shagged?
- Yes!

But I was careful!

- There!
- How?

I'm not going to teach you anything!

You're joking?

They shouldn't be so lazy.
When it's over, you jump up!

Right?
Now you're looking at me.

Don't film that!

Delphine Seyrig wants to intervene.
She's been following the debate.

So now, a short intervention

by tonight's surprise guest,
Delphine Seyrig.

I feel I'm not going be able
to speak much

because...

I'm in a separate studio.

I'm going to speak my mind now

as I won't be able to later.

You spoke about trauma.

It's more traumatic...

and all women know...

to raise children
than to have an abortion.

Every woman must have the choice
to have an abortion!

You talked about vagabond sexuality.

I think the Minister
spoke of vagabond sexuality.

I find that totally contemptuous!

Despicable!

Female sexuality is no more vagabond

than male sexuality.

Don't compare girls
whose sexuality is vagabond

or not!

I find it absolutely revolting!

The term is inadmissible!

You talked about giving freedom,

and whether it's reasonable.

You are all men.

We're millions of women in France.

You're discussing if
you should give them freedom!

If they're capable
of taking responsibility!

In short,

we are just little,
unintelligent beings,

like little dogs
you take out for a walk.

We are denied self-governance.

Self-governance of our bodies.

Anne-Marie will lift up your head.

- I'm going to help you.
- Wait.

Move the light.

- It's so funny.
- Can you see it?

- It's very open.
- Can you see it?

She can see it clearly.

So that's the cervix?

Normally, when you're not pregnant,

the cervix is longer,
narrower, harder.

Much more closed,

in general.

Look...
the blood is already coming out.

The blood and the placenta

are coming down into the cannula.

Having everything explained

is really interesting.

This way,
we can suck out bigger pieces.

I feel it pulling.

It's because
it must be attached to...

It will trigger
little contractions in the uterus.

I said "militant".

Are you a militant?

I don't like it when people say that.

People always ask me
if I'm still a militant.

I think that militants are people

who abandon

their way of living,

even their jobs,

to devote themselves entirely

to the development of a cause,

a liberation movement.

I'm not like that.
I'm an actress.

But it's true that

I live for feminism,

it's part of my life

and I really need it.

Have you always been a feminist?

I read somewhere,

when you were young,

you didn't have
the same idea of women.

That women should try to please,

that you wanted to please.

Yes, but I was already very aware.

It's a form of awareness

in women

who know they have to please,

as it's the truth.

They can only succeed in this world

if they are liked.

So I was aware of that.

But there was also a part of me

that was rebelling

against...

A part of me

clashed with the desire to be liked.

The result wasn't,
and still isn't

quite harmonious.

But I think that...

being aware of the need to be liked

is very important for women

if we want to free ourselves

from that image and obligation.

We must first understand it.

- As an actress, are you afraid...
- All the time!

- of the camera's eye?
- All the time!

Does the pleasure lie
in overcoming...

in taming this eye?

It's often the contrary.
You must get used

to that gaze.

It isn't always pleasant.

It can be nerve-racking.

And I believe that,

even though actresses

love being photographed,

they also suffer from it.

Marie Dubois.

Delia Salvi.

The film that I have just finished

is an ambitious project
I started 2 years ago.

It's called
"Be Pretty and Shut up!"

I edited together
a number of interviews I did

with other actresses.

I asked them the same questions
I ask myself as an actress.

Be Pretty and Shut Up!

I'll never forget the first day
I went to Warner Brothers

to do a...

a makeup test.

It was my first time
in front of a camera.

They were working on my face.

When they'd finished,
I didn't recognize myself.

It was like I was the result
of a production line.

And also...

they wanted me
to have my jaw broken by a dentist...

To have hollow cheeks.

I had lovely teenager cheeks.

Then: "With a nose like that,

you'll never play in a tragedy,
because it can't be taken seriously!"

Recently, word came from high up
that Jack Warner, the studio boss,

wanted me to wear false breasts.

He didn't like women
with small breasts.

I was clearly
just a commercial product

and they could do anything
to make me more sellable,

as they were going to invest
a lot of money in me.

It was terrific
going to Hollywood with her.

Delphine was very nice in everyday life.

Very easy-going.

We both put on ten pounds

because we loved hamburgers.

We'd stop at drive-ins
to eat a couple of cheeseburgers,

or a double cheese...

I wanted the camera

to move around.

But Delphine

always wanted to use a tripod...

and for me to film the women

like this. Frame 3/4,

frame 2/4,

without moving.

On the 5th day of shooting,
in Malibu,

in Los Angeles,

I snapped.

I asked Delphine
why she hadn't brought a tripod

instead of me.

"Use a tripod, press the button.
You can do that yourself.

"Why bring me?"

I ran off in tears...

down onto the beach.

Delphine ran after me:

"Don't go that way. You'll drown!

"If you really want to leave,
go that way!"

Of course, we talked it through.

I'll never forget
what she said to me.

"Listen Carole, think about it.

"When they film
the French President..."

- there was no potential
female president at the time -

"They've figured out

"the best way to film him

"so that his message comes across

"in the most convincing way.

"So...

"I think it's impossible
to listen properly

"if the camera keeps moving around.

"I want people
to listen to these women

"who are being asked these kinds of
questions for the first time."

I've played a nagging, Jewish wife,

a pioneer who gave birth alone,

a bad-tempered wife from the South,

I've played a farmer's barren wife.

Always those kinds of roles.

There are sometimes better roles,
but they only go to a couple of stars.

Being a black woman, in the early days,
I played a lot of maids.

There was nothing else
for my black sisters.

Except if you were very black,
then you could play a slave.

But I didn't do much of that
because I wasn't black enough.

I would have packed my bags
and left long ago.

I've always felt like that.

When I was small,
I regretted not being a boy.

In the sense that, because...

what I was looking for in cinema
was an excuse for living.

One of the reasons why
I act as well as I do

is because I'm a woman.

It's because women are trained to seduce.

I don't know if I'd be
as good if I were a man!

What can you do with a woman
in her 40s, 50s or 60s?

She has no place in male fantasies.

So she's eliminated!

It's a show for men, made by men...
then bye-bye!

The producers are men,
the technicians are men,

the directors are men...
most of them are men.

The press...

The press is mixed
but there's still a majority of men.

The agents are men, managing us.

Those who give you a script,
who give you advice, are men.

And the subjects they have

are also for men.

It was just the two of us filming:
Carole and myself.

We were very close because
we worked in the same field.

It was much closer
than with a journalist.

We both knew
what we were talking about.

It was a fascinating experience.
It's a video

that I love tremendously.

We realized that the scenes
between women that we played in

were rarely friendly.

Have you ever played scenes
that showed friendship

or warm feelings between women?

No, I've never done that.

Never! Never! No, I haven't!

I think there's a change

that's been occurring
in the last few years,

due to the Women's Movement.

Writers are embarrassed to use women

in the stereotyped roles of the past.

If women started writing,
things would change.

I've talked to people
like Truffaut, etc.

They say women end
up scaring them.

They no longer understand women

with all these women's movements.

They no longer know
how to write for us.

If you're both a feminist
and an actress,

you have virtually no work

if you only accept parts

that give a feminist image of women.

You stop acting
because such parts don't exist.

We need to take control of roles

we imagine and the things we know.
More women need to write.

It must come from us.

I didn't know you existed.

Calcutta has become
a form of hope for me.

Do you think it is your duty,
as an actress,

to help women work in cinema?

I don't have much of a sense
of duty.

I'm just interested
in working with women.

This is the first time,
except the film I shot with Marguerite

10 years ago.

It was her first film,
made with a male co-director.

It didn't really feel like
I was working with a woman.

I have only worked with men.

Last year, I suddenly got to work
with 3 women.

It wasn't a choice.
I accepted all three

because I was interested
in the 3 scripts and the 3 women.

After 15 years, it was extraordinary
to get to work with 3 women.

So working with women
is new for me.

I've rarely had the chance.

Directors, such as Bergman,

have spent their lives
making films about women.

When women will talk
about themselves,

it will be so different.

When the same issues
will be addressed by women,

such as prostitution,

it will be from an angle
we haven't yet seen.

See you on Thursday.

Marguerite Duras, Chantal Akerman,
Liliane de Kermadec.

These 3 directors
have one thing in common:

they've all filmed Delphine Seyrig.

Delphine, could you tell us

if there's something specific

to female directors
compared to male directors?

All three films by Liliane, Chantal
and Marguerite

are very different.

But, as an actress,

when I talk about
a female character

to a male director
or a female director,

it's obviously quite different.

With a female director,

we talk about

a person of the same gender.

I imagine that,
just as male actors

are always with male directors,

when they talk about their character,
they're on common ground.

An actress can't often talk
about that with another woman.

I think cinema made by women
is "marginal".

And marginal cinema is,
by definition, political.

That's true.

It's impossible to compare
a film by Mr Verneuil

and a film by Liliane de Kermadec.

The financial means,

starting from the budget

that's available,
make the film political.

I made this film to give

a cinematographic existence
to such gestures.

I wrote it entirely
with Delphine in mind.

It was so extraordinary
as she was nothing like the character.

She was a great lady.

Had it been someone we're used to seeing
making the bed, washing up,

the character would be invisible.

Just like men no longer see their wives
when they do the dishes.

So I needed someone we weren't used
to seeing doing the dishes.

Delphine was perfect for the role.

As the gestures became visible.

Why is it important to you
to show a woman's daily life?

There are already enough

crazy love stories

that hardly ever happen.

Cinema has shown an image of women from
a male perspective that is completely fake.

And even when they try
to show a woman's daily life,

they portray a fantasized daily life.

I probably do too.

The first General Meeting of Prostitution
has been disappointing.

Although it was a public event,

journalists weren't allowed
to take pictures.

In an attempt
to attract more attention,

it was announced that Jane Fonda

Annie Girardot, Jeanne Moreau
and several writers would be present.

But only Delphine Seyrig showed up.

I am a woman.
How can I not feel concerned?

Prostitution only exists

because a certain type of sexuality
allows it to exist.

If not, it wouldn't exist.

The first General Meeting
of Prostitution is open.

We are here for three things:

to say no to the prison sentences
inflicted upon us,

to say no
to abusive police repression,

and to say no
to the reopening of brothels.

Delphine was wonderful.

She'd come and join us,
and bought us video tapes.

She had a bit more money than us.

She was very supportive
of such struggles.

Prostitutes in Lyon had occupied
Saint-Nizier Church.

I felt I had to go and meet them.

We struggled
to get into the church.

The prostitutes didn't trust us.

They didn't know us.

We had our video camera
and I explained that

Since they couldn't leave the church

as they'd be arrested

by the police.

I suggested that

we film them every morning
inside the church.

Then they could watch the footage and
if there were things they didn't like

they could erase them directly,
as we didn't have any editing equipment.

We suggested installing
TV sets outside

because as they couldn't go out,
their message wasn't being relayed.

That way,
they could speak through these boxes.

They grasped our idea quickly.

Well, quickly...
After a 2-hour discussion.

So people heard the prostitutes
in front of the church.

It was incredible.
Cars braked, there were accidents.

The sound was excellent
it was very loud.

We want all women,
even if they aren't prostitutes,

to come to the churches
occupied by prostitutes

and help them.
We need their help.

This is not about being prostitutes

but about being women.

Françoise Giroud refuses
to take care of us

because she doesn't think of us
as women.

To her, we are prostitutes,
whores, nothing.

Somebody must intervene
and tell us who is representing us.

We won't leave
until we obtain results.

I am a woman and a mother.

Today, we pay taxes

but we don't have any rights.

Video provided immediacy
and a certain lightness.

We were completely uninhibited
from the beginning

thanks to these tapes
that were so cheap.

Above all, we could
immediately see what we'd filmed.

That reassured a lot of the women.

Back then, women were insecure,
unlike today's young women.

In my day,
we could perfectly handle an iron.

But faced with a car, an engine...
it all seemed extremely complicated.

For all those insecure people...

those insecure in front of the camera,
us insecure behind it,

we could discuss things on the spot.

Those women quickly realized that video
was a means to tell their story.

I call them
"the unknown that made history".

They became the pioneers
of causes they defended.

As they defended them very well,

I'd say, in all modesty,
that they become heroines.

I'm going to talk to you about
women's condition at the LIP factory.

But I'll replace the word "men"
by the word "Whites"

and the word "women"
by the word "Arabs".

So each time I say "Arabs"
it means "women".

At LIP, half the workers are Whites,
half are Arabs.

Naturally, the big bosses are Whites.

There are no Arab big bosses.

The big White bosses think,
deliberate and talk.

We, Arabs, also think.
I know because I'm an Arab.

We think.

The big White bosses can't know
that we think,

as we never have the right
to say what we think.

Regarding Arabs' issues, it's true,
we have specific Arab problems.

Whites can't understand,
it bothers them.

For instance,
we don't have the same diseases.

These Arabs, they have a fussy belly.

The great white leaders,
and in fact all Whites, when they are ill,

it's considered a noble illness,
real stuff, a serious problem.

Not like these Arabs always complaining,
always bothering.

At LIP, a women's group
was soon created,

disassociated from the unions.

They understood early on

that the trade unionists, the men,
didn't let them speak.

But as soon as

they had the power of TV,
people shut up and listened to them.

No one could cut their mike.

So they started to learn how to film.
I taught them how.

They came to Paris, where we had
a small workshop in the 14th district.

We edited short films with them.
It was extraordinary, as there was

six hours of LIP footage.

People and workers
went all over France

to talk about their struggle
and show the video tapes.

In all these video groups,
women had a very important role.

My analysis is that
video had no school,

no past, no history.

Men hadn't taken control over it.

It was a new medium

which hadn't been colonized
by men and their power.

3 steps forward

3 steps back

3 steps to the side

3 steps to the other side

Men don't know what to do
To put us back in step

Now they liberate us
How generous of them!

They mention us in their forums
They're cooking us tiny reforms

3 steps forward

3 steps back

3 steps to the side

3 steps to the other side

MASO AND MISO
GO BOATING

I want to point out
something remarkable...

Throughout this
International Women's Year,

No Nobel Prize went to a woman!

Not one French literary prize
was awarded to a woman!

I find that excellent.
WHAT?

The less we talk about women
the better?

No! Women have been proving their talent
for years in the literary world.

This program was broadcast
in December 1975.

It was called
"Phew, Women's Year is Over!"

Pivot presented the program
and had invited Françoise Giroud,

who was Minister of Women's Affairs
at the time.

We recorded the program

and decided to answer back
by editing in our comments.

Interviewed by Anne Sinclair,
3 unmitigated radio and TV misogynists:

President Marcel Jullian,
Pierre Bellemare and Jacques Martin.

- There are no women on your staff? Why?
- There are women.

- But never center stage.
- No...

It's very difficult
to find female presenters.

You're a fine example, my dear.
But it's difficult.

HAVE YOU LOOKED IN THE GARBAGE?

- Are you afraid they'll upstage you?
- No!

When we look at
cinema admission statistics,

a leading man still attracts
more audience than a leading woman.

Except with films
starring Miss Bardot.

And basically,
a man's career is longer.

LONGER AND HARDER Sigmund Freud

What practical advice
would you give to women...

Who are married to a misogynist?
I think they like it.

WARNING TO BATTERED WOMEN!

When we get married,
we make a choice.

We all recognize misogynists!

Maybe some women love misogynists.

I'm very tolerant.

It's best to let people
live their own lives.

They say misogynists are the best lovers.
Is it true?

I don't keep company with them
so I can't answer.

Giroud found this funny.
In your opinion, is she:

Seductress, subservient, mundane,
battered, maso(chist), miso(gynist),

Secretary of Women's or Male affairs,
all at the same time, nothing at all.

We responded with humour
but we were very angry.

The only way we could respond,

and I think it's everyone's dream
to be able to respond to TV,

by making a public statement
and showing it to others.

So lots of people could interrupt
Delphine Seyrig right now

- and disrupt her message.
- They could!

Everybody should be able to respond.

Louis Feraud,
a star of haute couture!

- That's unexpected!
- You'll see.

I thought he, on the contrary, was...

- That's unexpected!
- You'll see.

I thought he, on the contrary, was...

Hush!

Is it difficult to work
with women all the time?

I think so. I think so...

This is why, in my profession,

not many guys like women.

WHO LOVE / FUCK WOMEN

Apart from... me.

They are careful
when they should be careless.

They are sloppy
when they should be dressy.

They are inconsistent
when they should be consistent.

And vice versa.

They are tender
when they should be tough.

And tough
when they should be cunning.

They are incomprehensible.

I'm a man surrounded by women
but I criticize them

as I can't understand them.

WARNING

WE ARE NOT RESPONSIBLE
FOR THE SHOCK

OUR SECRETARY'S REPLY
COULD CAUSE TO SENSITIVE EARS...

That's not misogynistic!

- No?
- No.

It's the language
of a man who loves women.

So everything's just fine.

Everything's just fine,
Madam Minister.

Everything's just fine!

WE DON'T AIM TO COMMENT ON

THE PERSON FRANCOISE GIROUD IS.
OR TO KNOW IF

ANOTHER WOMAN COULD HAVE DONE
BETTER OR WORSE IN HER POSITION.

OUR AIM IS TO SHOW
THAT NO WOMAN CAN REPRESENT

OTHER WOMEN IN A
PATRIARCHAL GOVERNMENT OF ANY KIND.

SHE CAN ONLY SYMBOLIZE
WOMEN'S CONDITION

THAT OSCILLATES BETWEEN
THE NEED TO PLEASE

(FEMINIZATION = MASO)

AND THE DESIRE TO GAIN POWER

(MASCULINIZATION = MISO)

AS FOR THE REFORMS
PROPOSED BY F. GIROUD

THEY CAN BE DIRECTLY PROPOSED
BY THE RELEVANT MINISTRIES

(LABOR, HEALTH, JUSTICE, ETC...)

We showed the film
for about a month.

It was the first time a video screening
was organized in a cinema in Paris.

Paul figured it all out.

We took out 9 seats,

replaced them with 9 TV sets,
rented from the FNAC shop.

It was all put together
with cables weaving everywhere.

The men were really efficient.

The downstairs screening room of
the Entrepot was fully equipped.

It was extraordinary.

There were articles in the
Nouvel Observateur, in Liberation...

Françoise Giroud sent
her cabinet director

to ask us what it would take
to stop showing the film.

She didn't know
who she was dealing with.

Delphine taught me
how to be irreverent.

For Delphine,

the more important someone was,

the more she wanted to attack.

S.C.U.M. MANIFESTO

The edition of this text
is out of print

in English
as well as in its French translation.

That's why we felt the need
to reproduce an excerpt.

Paris, August 76.
Delphine and Carole.

SCUM Manifesto

by Valerie Solanas.

1967

Life in this society

being, at best, an utter bore

and no aspect of society
being at all relevant to women,

there remains for civic-minded,

responsible,

thrill-seeking females

only to overthrow the government,

eliminate the money system,

institute complete automation

and destroy the male sex.

When I listen to that,
I wonder how we dared do it?

We wanted that book
to be republished.

But how?

Delphine could have read the text
in front of the camera.

She didn't want to,

as it could have been misinterpreted,
due to her image.

I don't remember
how we got the idea.

One Sunday, we met at Delphine's flat
in Place des Vosges.

We took a table,
and thought that using a typewriter

would allow us to go slowly,

articulate better
and find the right rhythm.

What's surprising, but it would
have been the same any other day,

is that the daily TV news is live

and it's terrifying.

But it's just as terrifying today
as it was back then.

But the parallel

between the news and the book
is very powerful.

...the American police
in the zone between the Koreas.

That is what the British
Sunday Times reports.

Fed up with war!

Over 20,000 women and children
demonstrated in Belfast

for peace in Northern Ireland.

It was the biggest demonstration
for peace ever organized in Belfast.

Catholic and Protestant women
walked side by side

to ask men
to stop the deadly fights.

The Irish Republican Army,
IRA, was very embarrassed.

They used the terms "disgusting
collaborators and opportunists"

to define the 20,000 peaceful
Catholics and Protestants.

Being an incomplete female,
the male spends his life

attempting to complete himself
to become female.

He attempts to do this by
constantly seeking out, fraternizing with,

trying to live through,
and fuse with the female,

and by claiming as his own
all female characteristics:

emotional strength and independence,

forcefulness, dynamism,
decisiveness, coolness,

objectivity, assertiveness,
courage, integrity, vitality

intensity, depth of character,
grooviness,

and projecting onto women
all male traits:

vanity, frivolity,
triviality, weakness.

It should be said, though,
that the male has

one glaring area of superiority
over the female: public relations.

He has done a brilliant job
of convincing millions of women

that men are women
and women are men.

...70 injured yesterday in Beirut.
All civilians...

I think it's a superb text to read.

And it's very provocative, of course.

It's impossible
to turn those words into deeds

but its thought-provoking potential
is extremely important.

Dear child, it would be a great
mistake to marry your father.

You must gently discourage him.

But I love him.

I know you love him.

But I've already told you,

you're confusing
different kinds of love.

I must give him
an answer tomorrow.

The situation
calls for great attention

Children do not marry
their parents, my child

You love your father,
and I understand

But whatever your reasons
or feelings may be

Boys do not marry
their mothers, my child

And it is the tradition

In every condition

For lawmakers to decree

That girls
do not marry their daddies

Delphine Seyrig, you told
a fellow journalist from France Soir

that French cinema is afraid of you.
It was the title.

- People are afraid of women who speak out
- And who think?

Of what they have on their minds.
- Every woman thinks.

But few have the opportunity
to say what they think.

When they have that opportunity,

people are afraid of them
because they're not used to it.

They think they lack femininity,
that they aren't real women.

It's all underlying fear.

People are afraid of women
who are strong.

Many women's careers were destroyed.

It's difficult
to understand that today.

You have to put it
in the context of the 70's.

Many women's careers were destroyed

as a result
of their feminist positions.

In Delphine's case, certain producers,
like Toscan du Plantier,

not to name names...

Delphine was to have a role
that had been written for her.

Toscan said: "I refuse to produce it
if Delphine gets the main role."

That sort of thing...
It was extremely violent.

Yves Montand also refused
to work with her in a film.

For this program, I asked you

to name your personal pantheon

of the great men and women you admire.

But you said you hated all that.

Instead, you said you wanted
to pay tribute to a group of women:

the English suffragettes
from the beginning of the century.

The history of the women's movement
has been silenced.

It's not something
one learns at school.

The fight for elementary rights.

It's taught briefly,
saying they were ridiculous.

Look! It's not ridiculous,
it's magnificent!

They were called neurotic,
hysterical.

As if what they had to say
didn't make sense.

As if nobody listened to them.

There were thousands of them
demonstrating on the streets.

And they fought in such a way!

We appear to be very tame
compared to what they did.

They were sent to jail.

They went on hunger strikes.

They were force-fed.

Their fight was very violent
and tragic.

Many women died in those struggles.

It's important to know
that it's part of our past.

Many women are unaware
of their history.

3 years ago, we created the
Simone de Beauvoir Audiovisual Center.

Its aim is to preserve the memory

of all women's struggles
that were filmed by other women.

All this footage is now archived

at the Simone de Beauvoir
Audiovisual Center.

It wants to create collective memory
so these things aren't forgotten.

So that women can identify

with these models
of non-conformist women.

We have two activities.

The first is to collect all images

shot by men or women,
concerning women,

or shot by women about
all kinds of issues, filmed on video.

We function like a video library.

We have footage in 35mm, 16mm,
video tapes,

as well as photos.

Priority was given to video material

from the early 70's
that had started to deteriorate.

So far, we've saved the
first generation of video footage.

Later, depending on
the available time we have,

we'll work on older documents.

These video tapes,
dating from the beginnings of video,

disintegrate and crumble into dust.

Then they stick to the machines.

I've had to throw away

all my rushes.

Restoring them was an inhumane task.

So everything that wasn't edited
using IVC

is lost.

We all know about the problems
of video conservation,

which calls for a lot of modesty,
because

it all disappears.

The real radicals were there,
with extraordinary banners.

I filmed everything.
I filmed all the banners.

Unfortunately,
I filmed in black and white.

They had pink nylon banners

with purple paint on them.

They used spray paint cans.

When women will start to fight

There'll be no more little chiefs,
cops or bosses

To resist us

We find ourselves unemployed
completely isolated

Because you can't clock in

400 francs a month
how can we pay

The rent, the food, gas
and electricity?

When women will start to fight

Delphine always had
ideas for actions,

for films,

ideas for...

actions.

I'll always miss that about her,
now that she's no longer here.

She was uninhibited, fast...

We didn't spend hours discussing

if we should do something or not,
if it was politically correct...

If we wanted something,
we just did it. Period!

And that's precious.

What does your feminism consist in?

Primarily, it's about
communicating with other women.

The first thing is about
listening to other women.

Then to express oneself.

I feel I really need that.
I couldn't live

if I couldn't talk
with other women about myself,

about them,
and about all the other women.

IN MEMORY OF DELPHINE AND CAROLE