Danish filmmaker May el-Toukhy is poised to make a significant impact at the Venice Film Festival, where her latest feature, Woman Unknown, is set to premiere in competition for the prestigious Golden Lion. As one of only two female directors vying for the top honor this year, el-Toukhy brings a searing, class-conscious analysis of women’s experiences in the chaotic aftermath of World War II, a narrative often marginalized in historical accounts. Her film promises to be a stark, unflinching look at the societal repercussions faced by women deemed "collaborators" in a liberated Europe.
A Deep Dive into Post-War Scars
Woman Unknown delves into a period of history rarely explored with such intensity: the public shaming and brutalization of women in post-occupation Europe. El-Toukhy, known for her precise and aesthetically Scandinavian cinematic style, frames the narrative around themes of class, complicity, and the desperate struggle for survival. The film centers on Marie, a young nanny and housemaid in a newly liberated Danish city, whose impending marriage to a wealthy widower is threatened by a devastating secret from her past – an intimate relationship with a German soldier during the occupation.
The project initially conceived as an exploration of Reformation-era witch hunts, shifted focus dramatically when el-Toukhy found herself uninspired by the motivations of the historical perpetrators. A pivotal moment came with the re-publication of a 1940s newspaper photograph depicting a woman with a swastika painted on her back, a stark reminder of the widespread humiliation inflicted upon women suspected of fraternizing with enemy forces. This image catalyzed a new direction for el-Toukhy and her co-writer, Maren Louise Kæhne, drawing their attention to the "horizontal collaborators" – women whose bodies became battlegrounds for a nation’s collective rage and desire for vengeance.
Challenging the Dominant War Narrative
El-Toukhy is adamant that Woman Unknown is fundamentally a story about the female experience, a perspective she argues is severely lacking in the vast canon of World War II films. While acknowledging the sheer volume of cinematic works depicting the conflict, she points out that the overwhelming majority are anchored in men’s experiences and recollections. This perceived void energized her creative process, fueling a determination to bring these untold stories to the forefront. The director expressed a desire to see "another 100 films about the women in this time period" before considering the subject exhausted, underscoring the profound invisibility of women in historical narratives.
The film’s backdrop, a Danish city recently freed from Nazi occupation, serves as a microcosm for the broader European landscape grappling with liberation’s complexities. It juxtaposes the euphoria of freedom with the brutal chastisement of women for their perceived moral transgressions, highlighting how resistance and patriotism often intersected with the policing of female sexuality. Marie’s struggle to preserve her new social standing amidst post-war anarchy illustrates the deeply personal stakes of this societal reckoning.
The Creative Journey and Production Hurdles
Developing Woman Unknown was a meticulous process for el-Toukhy and Kæhne. The initial pivot from the witch hunts to World War II’s aftermath was a crucial turning point, inspired by the powerful imagery of the shamed women. Danish schools, while covering the war’s political and resistance aspects, often overlook the fate of these women, a gap in public discourse that el-Toukhy sought to fill. She expressed a particular interest in exploring difficult, morally ambiguous material where "everything is gray," fostering debate rather than dictating black-and-white answers.
The casting of Mathilde Arcel as Marie was a central element of the film’s development. El-Toukhy, drawing from her theater background, emphasized an extensive casting process, viewing the lead actor as a creative partner. She described falling in love with Arcel’s "gaze" and her nuanced interpretation of the character, praising her ability to convey both mystery and profound emotion. Arcel’s portrayal of Marie, a young woman fighting to survive and protect what she has gained, resonates with a universal struggle that el-Toukhy believes audiences will understand, even if they don’t always agree with her character’s actions.
Financing the film, a co-production involving Denmark, Sweden, and Latvia, presented its own set of challenges. While securing funding was not the "tallest hurdle" – with many expressing interest in the project – the post-COVID landscape meant filmmaking costs had surged. El-Toukhy had to be exceptionally economical with resources, working faster across all production stages. This experience, however, has only sharpened her resolve and resourcefulness as a filmmaker, following her critically acclaimed features Long Story Short (2015) and Queen of Hearts (2019).
Venice: A Platform for Debate and Artistic Validation
The selection of Woman Unknown for the Venice Film Festival’s main competition represents a significant milestone for May el-Toukhy and her team. Venice, one of the world’s oldest and most prestigious film festivals, is renowned for launching international careers and setting the tone for the global cinematic year. Competing for the Golden Lion places el-Toukhy in an elite category, offering unparalleled visibility for a film tackling such sensitive historical themes.
El-Toukhy views the Venice premiere as a vital opportunity to expose Woman Unknown‘s crucial themes to a wide European and international audience. She emphasized the importance of confronting historical narratives to better understand the present and shape the future. For her, the festival is not just about awards but about igniting discussion. The director reflected on her immense personal investment in the project, stating, "I’ve worked 16 hours a day for more than a year. I’ve spent all my savings. I’ve used every part of me to make this film and all the resources, all the muscle power I have. I can’t really do any more, so therefore I feel okay." This deep commitment, she feels, means she has "already won" by simply reaching this stage.
Broader Implications for Cinema and Society
Woman Unknown arrives at a time when there is increasing scrutiny on the representation of diverse voices and experiences in cinema. El-Toukhy’s film directly addresses the historical invisibility of women’s wartime struggles, prompting audiences to reconsider established narratives of heroism and victimhood. By focusing on the "murky and muddy" moral landscapes of post-war life, the film encourages nuanced reflection on complicity, judgment, and collective memory. It aims to create a space for audience self-reflection and debate, rather than delivering prescriptive answers.
The film’s aesthetic approach also seeks to disrupt the conventions of a "classical period piece." El-Toukhy and her team have continuously worked to infuse the historical setting with a contemporary sensibility, ensuring the film’s relevance beyond its specific time period. This innovative approach aims to engage viewers who might otherwise feel fatigued by traditional war dramas.
Beyond its artistic merits, Woman Unknown highlights the crucial role of film festivals in the ecosystem of arthouse cinema. Festivals like Venice serve as critical markets, fostering relationships between filmmakers, distributors, and ultimately, audiences. El-Toukhy stressed the importance of these platforms for publicly funded Scandinavian films to connect with their intended viewers globally. While already contemplating future projects, her current focus remains steadfastly on promoting Woman Unknown and ensuring its powerful message resonates widely. The film’s premiere marks not just a cinematic event, but a significant cultural intervention, challenging us to look at history and humanity with fresh, empathetic eyes.
