A Woman Like That

Artemisia Gentileschi was one of the few notable female painters during Italy's 17th-century Baroque era. Because of her ambition to succeed in a male-dominated world—as well as her courage in testifying against a teacher whom she claimed raped her—she's been embraced as a heroine by feminists. Certainly Artemisia is seen as a role model by documentarian Ellen Weissbrod, whose A Woman Like That melds biographical details with tales of the filmmaker's own personal and professional struggles—including being refused permission to shoot at a traveling exhibit of Artemisia's works (Weissbrod responded by surreptitiously sneaking a camera into the museum, a ploy played here more as amusing caper than opportunity to reveal much about Artemisia's art). Weissbrod does manage to photograph canvases in private hands, conversing with their owners, and she adds commentary from art historians and dealers about Artemisia's depiction of female nudes and strong women (such as the biblical Judith, who slew Holofernes), while also incorporating lots of person-on-the-street interviews with museum-goers who express their admiration for the paintings and their maker. The film also features some curious re-enactments by students and readings from the artist's letters. Unfortunately, the final product feels self-indulgent, not only due to Weissbrod's constant reiteration of how Artemisia's problems reflect her own, but also in her technical choices, which include plenty of split-screen images and overlapping sound. Extras include deleted scenes. A mixed bag of a film, there is enough insight here to make this a strong optional purchase. Aud: C, P. (F. Swietek)