A Wedding (2016) and Ann (2022): Film Reviews of Two Powerful True Stories on Women's Rights and Agency
Both inspired by true events, A Wedding (2016) and Ann (2022) reimagine real-life tragedies through the eyes of teenage girls, becoming potent cautionary tales about the urgent need for women’s rights, agency, and autonomy.
A Wedding (2016)—Directed by Stephan Streker
A Wedding directed by Stephen Streker follows Zahira Kazim, a woman at the crossroads of self-determination and tradition. After her unplanned pregnancy and breakup with her ex-boyfriend, she is pressured into an arranged marriage by her parents. Eventually falling in love with Pierre, a boy of European descent, she is forced to confront the weight of familial expectations, socio-religious obligations, and identity as a modern woman.
Alongside these tensions, Streker subtly critiques the limitations imposed on reproductive rights and bodily autonomy, emphasising the importance of choice in a young woman’s coming-of-age. The film, based on the real-life honor killing of Sadia Sheikh, portrays Zahira's struggle with authenticity and empathy, highlighting the complexities of cultural identity and personal freedom.
Ann (2022)—Directed by Ciaran Creagh
Directed by Ciaran Creagh, Ann recounts the 1984 tragedy of Ann Lovett, a 15 year-old girl from Granard who died giving birth alone at a grotto. Shot with long takes and steady tracking shots, the film builds our understanding of Ann through the eyes of others—gossip from the townsfolk and fleeting interactions. As we drift through her town quietly observing the circumstances that led to her fate, we ponder on the question “Why didn’t she ask for help?”
Zara Devlin delivers a strikingly naturalistic performance as Ann, conveying her sense of fear and isolation through body language and minimal dialogue. The film's observational narrative style and long takes immerse the audience in Ann's world, highlighting the societal apathy and religious conservatism that contributed to her tragic end.
Shared Experiences Across Time and Cultures
Though set decades apart and grounded in vastly different cultural contexts, both films trace a common thread: the oppressive social structures that stifle female agency. Their distinct socio-cultural landscapes offer important intersectional perspectives, shaped by the histories and norms of their respective societies. Zahira, in A Wedding embodies a modern voice of resistance—self-aware, assertive and determined to take charge of her life. Yet, this comes into conflict with her parents’ own methods of protection and concerns, which abide socio-religious convention. In contrast, Ann reveals the isolating experience of teenage pregnancy in a conservative Catholic community, where silent judgment replaces support. Merely a subject of gossip rather than compassion, her circumstance is met with apathy and the townsfolk’s curiosity failed to materialise into tangible intervention, leaving her to her own devices in her most desperate and vulnerable moments.
Both female protagonists face the illusion of choice, where freedom is only surface-deep. Their attempts at escape are undercut by forces beyond their control, revealing the costs of non-conformity. Each film probes the limits of unconditional love, exposing the moral ambiguities and failures of those around them.
Despite their tragic ends, there is much to be admired about Zahira and Ann. Their quiet resilience and endurance in the face of societies that seek to silence and mould them into conformity is moving. Knowing their fates only deepens their presence—they haunt the narratives, resisting being reduced to moral cautionary tales.Instead, they remind us of the unwavering determination of women, and their never-ending struggle for emancipation and agency. Their stories compel us to question: Why do we still need women’s pain and tragedies to make the case for empowerment?
Watch A Wedding and Ann on CinemaWorld.
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ABOUT THE FILM CRITIC:
A devoted fan of indie cinema and an avid music enthusiast, Mavis is a pop culture junkie with a keen interest in all aspects of contemporary culture. She especially loves female-forward narratives and passionately champions representation in film, continually educating herself on the importance of diverse storytelling. Whether sitting in a cinema or browsing through crates of vinyl, Mavis enjoys being immersed in tangible experiences that bring stories and music to life.
