In this paper I discuss Leïla Kilani’s film On the Edge (2011) in the context of contemporary women’s cinema, transnationalism and globalization. My reading of the film considers the convergence of postcolonial dynamics, gender and class identity, aesthetics. The film documents the harsh life of Moroccan girls working for very low wages and dreaming of a better life and presents a dichotomy between alienation and emancipation. Yet, by relying on film noir’s formal structure, Kilani shows that the protagonist’s quest for social mobility is doomed to fail.
Pravadelli, V. (2019). Working-Class Girls in Global Morocco. The Case of Leila Kilani’s On the Edge. IMAGO, n. 19, 197-208.
Working-Class Girls in Global Morocco. The Case of Leila Kilani’s On the Edge
Pravadelli. Veronica
2019-01-01
Abstract
In this paper I discuss Leïla Kilani’s film On the Edge (2011) in the context of contemporary women’s cinema, transnationalism and globalization. My reading of the film considers the convergence of postcolonial dynamics, gender and class identity, aesthetics. The film documents the harsh life of Moroccan girls working for very low wages and dreaming of a better life and presents a dichotomy between alienation and emancipation. Yet, by relying on film noir’s formal structure, Kilani shows that the protagonist’s quest for social mobility is doomed to fail.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
