a return to the roots of #metoo

Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) in


A look back at the Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) investigation that broke the Weinstein affair in “one” of New York Times, October 5, 2017, at the origin of the popularization of the #metoo movement in the world. As saying that She Said is immediately positioned as one of the event releases of this end of the year.

Only, we don’t learn much about the unequaled qualities of the journalists who managed to free the voice of the victims except that they never walk around without their MacBook and that they are very kind to their interlocutors. It’s hard to know what fiction, produced five years after the fall of the producer at the eighty-one Oscars, adds to the many stories that have appeared in the press, books and documentaries like The Untouchable (2019), by English director Ursula Macfarlane.

The film does not reach the power of the masterpiece of the genre, “The President’s Men” (1976), by Alan J. Pakula

The hierarchy of testimonies nevertheless makes it possible to feel the progress of the investigation – first anonymous people then stars, financial executives who supervised the payments to muzzle the victims, people who agree to be cited, evidence written in support… Despite this, the film does not reach the power of the masterpiece of the genre by Alan J. Pakula, which tells how two reporters brought down rotten people.

The President’s Men (1976) follows the “Wood-Stein” duo (Robert Redford and Dustin Hoffman) from washington post which revealed the Watergate scandal, at the origin of the fall of President Richard Nixon in 1974. The difficulty in unbolting the cogs of this vast political machinery is made perceptible by a masterful shot from the top of the dome of the library of the Congress… Faced with this, the work of the journalists filmed in minute detail highlights the small ant deployment of the counter-power of the press.

Exclusively feminist angle

Maria Schrader, for her part, chose to show the efforts of the investigators of the New York Times from an exclusively feminist angle that ends up congesting the film, which is essentially linked to the question. She forbids herself, for example, from giving a face to Harvey Weinstein in favor of a bibendum seen from the back which makes you laugh more than anything else, records the family life of the investigators in a logic of inversion of clichés – it’s dad who changes the diapers and mom who saves the world – and bans any scene of aggression.

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