Die Weibchen

Viewers who expect solid Euro-horror from Die Weibchen will inevitably be disappointed, as the film offers none of the desired genre attractions. However, those who approach the film as a formalistic extravaganza will be delighted. The story, which is highly reminiscent of The Twilight Zone, could potentially lend itself to an exploitation treatment – after all, in American trash productions of the same era we can find a number of films that scandalise the feminist movement of the time. Though there is a scene involving bra burning, the central characters peculiarly do not take part in it. Rather, the development that the main female protagonist undergoes is characteristic of the age. Despite her initial efforts to restore the traditional order, said protagonist accepts her position in the mantis sisterhood, not because she hates men, but because she comes to terms with the fact that men will not take advice from women and that they are thus beyond help. The film’s main strength consists in the symbiosis of Brynych’s direction and Charly Steinberger's expressive, detached camerawork. The avant-garde experimental style, consisting of impressive camera compositions ranging from wild movement to framing the face of the ethereal Uschi Glas, creates a uniquely psychedelic work of pop art that in many aspects evokes the highlights of Kája Saudek’s comics. (11.10.2021)