FEMEN leader Inna Shevchenko discusses religion in a documentary on feminism and faith
The synopsis of Arash T. Riahi’s and Verena Soltiz’ socio-political documentary asks: ‘What happens if women decide to revolutionize religions instead of rejecting them?’ The director-duo never truly engages with this interesting question. Instead, their camera follows Ukrainian activist Inna Shevchenko, as she talks to numerous women about religious beliefs and practices. The majority of these women is white, and they all appear to be middle class and cis. Some of these women identify as atheist, though they may have been raised religiously. Others were raised secularly but converted to a certain faith. Shevchenko herself is leader of the radical feminist group FEMEN.
The Ukrainian-based FEMEN gained some media attention for their topless activism. Emphasis on “topless”. Their social and political goals hardly get noticed. But their bare breasts turn some heads. Riahi and Soltiz show no interest to fill in that gap and never properly establish Shevchenko’s political stance. Is it the same as FEMEN’s position on such varying topics as abortion, the church, sex work and Pussy Riot? Or does her personal opinion differ from the official FEMEN agenda? Speaking of: What is that agenda? The discussions Shevchenko has only reaffirm a widely known truism: Feminism is a contentious issue. However, they fail to mention that some harsh critique of FEMEN comes from feminists.
According to the group’s videos and posts, their “feminism” is white, able-bodied, slender and bourgeoise. Their actions have no relevant impact and show little regard for marginalized groups. FEMEN call their activism “sextremism”. Yet, they target sex workers and condemn pornography. Getting naked for FEMEN is fine, but getting naked to make a living? Now, that’s anti-feminist! Riahi and Soltiz never bother to point out this hypocrisy. Early on in the documentary, a short clip shows some FEMEN members toppling over a huge crucifix. However, FEMEN actions against Christian institutions are fairly recent. Much of their activism is directed against Islam.
They step on the flags of predominantly Muslim countries and mock women in hijab. These things seem relevant since Shevchenko is the documentary’s protagonist and religion a key topic. But the directors don’t mention FEMEN’s questionable populism. In fact, they appear to sympathize with the Islamophobic bias. When Shevchenko talks to a female priest, she is supportive. Christianity looks as if it was ready to reform. In contrast, Shevchenko’s debates with two Muslim women are much more antagonistic. She presents Islam itself as the problem and apparently wins the debate. One prolonged scene shows a bizarre public ballot on the question ‘Is Islam compatible with human rights?’. The vote is not surprising. Notably, no such ballot on Christianity or other religions takes place. The sole effect of this scene is to discredit Islam.
Shevchenko also visits a Jewish wig maker and tries on a wig. If you believe her complaints, that wig pinches a lot! In her mind and on her head the wig becomes a symbol of religious repression. Earlier on, Shevchenko has a poignant conversation with a Jewish tour guide. The guide, who left her orthodox Hasidic community behind, explains: “Choice is a very secular concept. There are people who believe the entire idea of choice is just an opportunity to make mistakes”. Paradoxically, this observation fits Shevchenko. Her opinion seems to be, that giving women the choice to wear hijab or become a porn star only allows them to make mistakes.
There are more telling moments like this: Shevchenko quotes the American feminist and theologian Mary Daly: ‘If God is male, then male is God’. The quote illustrates Shevchenko’s simplifying of complex issues. Ironically, she herself seems blinded by faith; not faith in a God, but in her own selective ideology. The directors don’t attempt to reveal her bias. Their observational perspective is not as objective as it pretends. The choice of conversations and framing point towards strong sympathies towards the FEMEN position. Occasionally the debates brush interesting issues, but they never go into depth. Thus, the film’s premise seems more of a pretext to give a questionable public figure a podium.
- OT: Girls & Gods
- Director: Arash T. Riahi & Verena Soltiz
- Screenplay: Arash T. Riahi & Verena Soltiz
- Year: 2025
- Distribution | Production © Filmladen
