Written and directed by Marco Bellocchio
Produced by Offside and Celluloid Dreams
Distributed in America by IFC Films
Feminists began proclaiming that the personal is the political during those dreamy 70’s of the last century. This, as I’ve noted elsewhere, is a proposition that every sane person must resist. Those who accept it invariably contaminate their relationships—especially intimate ones—with a lethal dose of powermongering. Of course, this obvious consequence of turning individuals into political operatives didn’t deter the truly ideological feminists. More than anything else, they wanted to raise political questions within the precincts of the marriage state: Who’s in charge de facto, and who’s in charge de jure? They were on a campaign to stake their flag on the nuptial continent in order to rescue their male-colonized sisters regardless of whether they needed or wanted rescuing. In the process, they opened up a rich field of resentment to be tilled by spouses—both women and men—with real and imagined grievances. Of course, their ever-vigilant lawyers began staking claims of their own. When the primary nuptial concern is who has the power, you can forget about waiting until death do you part. Splitsville is no farther than the nearest courtroom.