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Taboo Fantasies: Teaching Annie

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This neutral way of writing comes to me naturally, it is the very same style I used when I wrote home telling my parents the latest news.

Annie Ernaux ‘It plunged me back to waiting for a period’: Annie Ernaux

In Happening, Ernaux writes, “I don’t believe there is a single museum in the world whose collections feature a work called The Abortionist’s Studio”. Why, I asked her, is it so important for artists or writers to depict it, to tell the stories of their own bodies? For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. In a library, in France, in the 1960s, a young woman glances over her shoulder before opening a textbook to inspect a cross-section of a pregnant female body. A succession of nested U shapes show the way the uterus expands as the foetus grows. The foetus looks like a lima bean with legs. Someone comes; the young woman shields the book from view.

Diwan chose not to integrate these present-day reflections, in a voiceover for instance. “If I had included the author looking in the rearview mirror I would have confined this film to the past,” she said. And in her adaptation, Diwan tells me, it was important that Happening not feel like an artefact. This approach to writing is underpinned by a mission. Ernaux believes that writing about the self inevitably involves writing about a socio-political context, and thereby extends the representativeness of her own experience. By writing simply about her own experiences, she also wants to write into literature the collective experience of the French working-class.

Elena Koshka in Pure Taboo Elena Koshka in Pure Taboo

E.L.: I definitely made this film with the intention to arouse, because that's what I do. It's just another kind of arousal than what we are used to. Most of the XConfessions stories are fictional, but lately, I've been making films in which we get to know real couples and we get to see the kind of sex they have in their ordinary lives. The idea is that these documentaries will show you different ideas around sex, because I think that people — we have so many questions.

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That desire to give voice to marginalised experiences is further illustrated in two of her “external diaries”, Exteriors and Things Seen, which record the everyday exchanges of people in outside spaces such as the supermarket or when commuting on the Paris metro. Diwan herself describes feeling at first “joyful” about having the term applied to her work, but that more recently she’s had the impression that her gaze has been “circumscribed” by her gender, that as a director she was “reduced to and defined by” her gender. No sooner had she accepted the mantle of the female gaze than she was “limited” by it.

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