This essay analyzes three experimental short films made by Southeast Asian women filmmakers: Jai (Love, 2008), directed by Anocha Suwichakornpong of Thailand; Shotgun Tuding (2014), directed by Shireen Seno of the Philippines; and Eleven Men (2016), directed by Nguyễn Trinh Thi of Vietnam. Each deploys a critique of national historiography through specific formal strategies: constructing a recursive temporality (Jai), using anachronistic media (Shotgun Tuding), or privileging image over event (Eleven Men). These formal strategies create a gendered, reflexive view of the historiographic process through their frictions with official, national histories. At the same time the films nod to, and at times engage with, the transnational networks that brought them into being. The essay considers how the films and the filmmakers who made them negotiate local arts activism, transnational funding structures, and commitments to national histories. It argues that their textual and institutional parallels sketch the possibility of a regional, Southeast Asian imaginary for women's filmmaking.

You do not currently have access to this content.