In Protected Men directed by Irene von Alberti, we enter a society gripped by a virus that selectively afflicts men. Amidst political turbulence and feminist challenges, contrasting patriarchal authority with feminist ideals in a profoundly thought-provoking narrative.
Protected Men, directed by Irene von Alberti, had its world premiere at the 41st Munich International Film Festival. The storyline depicts a society afflicted by a virus that exclusively affects men, prompting questions among women about the necessity of protecting men. The opening scene unfolds in a park where a man, attempting to approach women, unexpectedly transforms into a werewolf, setting the stage for an unexpected and tense narrative.
Protected Men highlights the high levels of testosterone and inclination towards positions of power among men, even amidst the virus’ influence. The swift progression of events coincides with elections, where the FEM party (Feministisches Ensemble von Minderheiten) strives to surpass the five percent electoral threshold, a crucial step in overcoming initial challenges. Unfortunately, strong female candidates face obstacles in their political journey. The party’s conference attracts a diverse assembly of women, while governmental structures remain in the background, largely ignored by the public. Simultaneously, the Chancellor downplays the threat posed by the new virus, underscoring his sexist approach.
Despite potential limitations stemming from budget or pandemic-related constraints, the film remains a captivating portrayal of socio-political dynamics. The Chancellor’s disastrous pre-election party sets the stage for Anita Martinelli and Sara Bedford of the FEM party to seize their moment—an opportunity to reshape their status and societal norms through what could be their last chance. Viewers witness a governmental upheaval orchestrated by these strong women, with Anita assuming the role of Minister of Internal Affairs, initially perceived as a triumph of feminism.
The film delves into themes of revenge and power dynamics, portraying men in laboratories as tools of authority, disregarded by those seeking to maintain the status quo. Anita Martinelli emerges as a moral leader navigating the complexities of governance, contrasting with Bibiana Beglau’s portrayal of Hilda Helsinki-Pfaffer, a pharmaceutical entrepreneur acting with impunity. The narrative oscillates between satire and philosophical reflections on the duality of patriarchy and matriarchy, each vying for dominance.
In essence, Protected Men provokes contemplation on the significance of gender dynamics in contemporary society, framed within a narrative that blends political intrigue, feminist discourse, and societal commentary with a compelling and thought-provoking lens.
Our writer Polina Grechanikova was on the ground at the 41st Munich International Film Festival in Germany.
