Political theorist Lori Marso has been intrigued by filmmaker Chantal Ackerman for many years and has integrated Ackerman’s work into her courses at Union College and into her writings and scholarship as well. So it is no surprise that Feminism and the Cinema of Experience (Duke UP, 2024) is both an academic and a personal journey into Ackerman’s work but also the ways in which Ackerman’s work and similar kinds of artistry have made their way into our imaginations and our cinematic spaces. In Feminism and the Cinema of Experience Marso uses both Ackerman’s cinematic work and the written work of Simone de Beauvoir to frame a variety of approaches to thinking about feminism and contemporary film. As Marso explains, Ackerman’s work attends to and notices women’s experiences, often with the kinds of cinematography that are used to explore these experiences in ways that make audiences a bit uncomfortable. Part of the thrust of Marso’s analysis is interrogating what it means to “feel like a feminist.” This is an important component to the discussion in Feminism and the Cinema of Experience since this feeling may be a space where we are puzzled by what we actually do feel and we need to accept that we are alright sitting with that discomfort and with that inconclusive affect.

Feminism and the Cinema of Experience explores the ways that cinema and film shift our senses, through what we see, hear, and the focus of our thinking. Film is also a profoundly emotional experience, especially if we are in a theater with others or viewing it in a community. The discussions that we have with others about what we have seen and experienced are political—this is a form of political engagement and a kind of democratic engagement. Marso provides the reader with different genres and categories that help us think about films within the broader framework at hand. And within these sections, many more contemporary films are put into conversation with Ackerman’s work. Finally, Marso wrote an epilogue of a kind that brings Greta Gerwig’s Barbie movie into the discussion as well.

This is an important and thoughtful examination of contemporary cinema—but it is also a valuable analysis of feminism and feminist thought as we see it all around us, but particularly in narrative form on the silver screen. Feminism and the Cinema of Experience is fascinating, engaging, and opens doors to new and different ways of thinking and seeing and experiencing.

Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social

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