La tresse

As the title "Braids" suggests, the film depicts three women from different countries and backgrounds confronting their respective predicaments, and how their lives intersect at the end. Smita is a noncaste "untouchable" living in rural India, who has made her living by collecting excrement from the upper castes for generations. In this kind of life, it is her longing to get her daughter Lalita into school to learn to read and write, and to help her daughter escape from a situation like her own. However, the daughter she finally enrolls is bullied by her teachers because of her origins. Giulia was born and raised in Sicily, Italy, in a family that has been in the hair processing business for generations. However, she is faced with her father's sudden accident and the financial difficulties of the family business. Sarah is an accomplished Canadian lawyer, twice divorced, a single mother of three children, and has had a spectacular career, throwing everything into her work at the expense of her personal life. However, just before she is promoted to managing partner, she discovers that she is ill. First of all, referring to the overall impression, the story was exhilarating and cinematic. That's not surprising, since the author, Leticia Colombani, is a film director. I've only seen "I Love You, I Don't Love You..." (very funny!) starring Odorei Tautou. I have only seen the film, but even in this novel, the fluency of the story and the dramatic nature of the development are impressive. The overall upbeat mood and the opportunistic final twist make this an entertaining and enjoyable feminist tale that is seasoned in a way that makes it accessible to a wide audience. In this sense, it is an extremely accessible story that is distinct from works such as "A Samurai's Tale" and "Born in 1982, Kim Ji-young," which have been much talked about in recent years and which focus on realistically depicting the plight of women. The structure of the film, as mentioned above, is based on the parallel lives of three women from different countries and different backgrounds. This storytelling approach is common to other works I have read recently that have a strong feminist component, such as "Woman, Girl, Others" and "The Testaments. The Testaments. I wonder if this is because, in expressing the ideas at the heart of feminism, it is essential to acknowledge the diversity of human beings, while at the same time affirming and referring to each life in equal measure. （Even in Japan, a country dominated by a single racial or ethnic group (as is originally the case with men), people play very different games depending on their clusters (unmarried/married, with/without children, full-time housewife/working woman, rural/urban, etc.), and when one expands the scope of life If one were to paint a picture, the narratives of a myriad of people would be inherently necessary. (Note: The following is a spoiler, so please skip it if you haven't read it yet) On the other hand, I was caught by the fact that this work, while oriented toward polyculture, does not question the polarization between the "center" (= developed countries) and the "periphery" (= developing countries) brought about by globalization and the structure of exploitation of the latter by the center as a given. Julia is able to make money from Smita's cheaply procured hair, and Sarah uses her high quality hair to regain a positive outlook on life. Smita, however, has lost all of her hair, and yet she reaps no reward for it. I suppose the film explains that she instead gets the fulfillment of her faith, but isn't such thinking a deception on the part of those who enjoy it in the developed world? The composition of two women in the developed world benefiting from the uncompensated sacrifice of a woman in a developing country seems to me to ironically depict one aspect of globalization that reinforces inequality among women, and I think it weakened the message of this story.