May el-Toukhy examines the underrepresented stories of women during WWII in ‘Woman Unknown’ and highlights the lack of female directors at the Venice Film Festival.
Director May el-Toukhy has spotlighted the often-overlooked narratives of women accused of collaborating with German soldiers during World War II in her upcoming film, ‘Woman Unknown.’ This was detailed in a recent interview with Variety, published on September 6, 2026.
In ‘Woman Unknown,’ el-Toukhy focuses on the lives of these women, revealing how they were branded as ‘horizontal collaborators’ during and after the war. She discusses the broader implications for national identity and gender roles, stating, “When we started to build a story about a ‘horizontal collaborator,’ we realized that, during and after the war, the female body became part of national identity.”
In addition to her film's thematic explorations, el-Toukhy expressed concern over the Venice Film Festival’s recent decision to feature only one female director in its main competition. She characterized this underrepresentation as a structural problem within the industry, saying, “I would have loved to be in the company of more female directors in the competition.” This comment points to a significant gap in gender diversity at major film festivals, which remains a persistent issue.
El-Toukhy's film goes beyond a historical recounting; it delves into the experiences of women like the main character, Marie, who navigates a precarious existence filled with secrets amid societal chaos. She acknowledges the historical tendency to overlook the female narrative, saying that many such stories “tend to be ignored” by historians. In this film, she aims to give voice to these ‘unknown women,’ shining a light on their complex realities.
While ‘Woman Unknown’ addresses the trauma of war, it also engages with broader historical discourses regarding women’s experiences in conflict. The film's title itself comments on the systemic lack of acknowledgment for these women, many of whom remain nameless in historical texts. As el-Toukhy notes, these women’s lives are often labeled simply as “unknown.”
El-Toukhy’s remarks about the Venice Film Festival reflect a broader conversation about the representation of women in cinema, both in front of and behind the camera. She argues that this disparity is evident in budget allocations and media portrayals, asserting, “Even journalists talk about male directors differently than they talk about women.” This highlights the challenges female filmmakers face in gaining recognition and respect equal to that of their male counterparts.
Her comments resonate with ongoing dialogues about the need for change within the entertainment industry, emphasizing that everyone has to contribute to rectify these inequities. As she participates in the emerging Dogma 25 movement, which advocates for new ways of filmmaking, el-Toukhy expresses her commitment to addressing these fundamental issues through her work.
May el-Toukhy’s work in ‘Woman Unknown’ serves as both an artistic and sociopolitical commentary, illuminating the struggles of women in wartime while advocating for increased visibility of female directors at major film festivals. As discussions about representation continue, her voice adds a critical perspective to the ongoing need for structural change within the film industry.
For insights into other films at the Venice Film Festival, check out related stories on Wim Wenders' documentary at Venice and Alina Șerban's ‘I Matter’.
Looking forward, it remains essential for audiences and industry professionals alike to engage with these narratives, advocating for a more inclusive future in film.
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