![]() ![]() In doing, Woman at War articulates a position which does not dismiss industrial sabotage as just extremism, but forces the viewer to re-evaluate its potential efficacy. The politicians respond cynically: they do not engage with Halla’s statements, but create a media storm to distract from it and bring all activism into disrepute. It is remarkable to sit in a cinema and hear a militant statement calling for eco-sabotage read in full. ![]() At one point, Icelandic politicians read Halla’s strongly-worded manifesto out in full, off their phones, in a meeting with a Chinese trade delegation. This is eco-sabotage with a respectable face – understandable, justified. He lends her his car so she can escape – helping her out with a gruff, unceremonious anti-establishment common sense – and immediately the film positions itself on Halla’s side: her actions are those of a reasonable and likeable person. Fleeing across the moorlands, pursued by a police helicopter, she seeks assistance from a taciturn farmer. The film opens with Halla in the midst of her sixth action targeting the plant. ![]()
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