Nina Wu is characterised by manic, experessionistic visuals and an intensely dramatic storyline – a noticeable deviation from the usual realism of Burmese-Taiwanese director Midi Z. In using the harrowing experiences of its female protagonist to condemn the protocols and power plays of showbiz, the film also establishes itself as a compelling metatext in the wake of #MeToo, writes Gabrielle O'Brien.
Taiwan, Myanmar, Harvey Weinstein, intertextuality, male gaze, genre
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