"All women who kill or have sexual obsessions or who are prostitutes have trouble with their fathers"
About this Quote
Deneuve delivers this like a clean incision: a sweeping diagnosis dressed up as insight. Coming from an actress whose career has orbited around cool surfaces and dangerous interiors, the line reads less like clinical psychology and more like a cultural autopsy of how women’s transgression gets explained away. It’s not really about fathers; it’s about the reflex to find a single, tidy origin story for anything that makes a woman hard to categorize.
The specific intent feels double-edged. On one level, it’s a provocation, a deliberately blunt shorthand that mirrors the kinds of explanations cinema and tabloid culture love: the “damaged” woman, the broken home, the absent dad as narrative cheat code. On another level, it risks endorsing the very reduction it’s pointing at, collapsing wildly different experiences - violence, desire, sex work - into one paternal-shaped wound. That compression is the tell: it exposes how quickly society medicalizes or pathologizes female agency when it looks like appetite, anger, or survival outside respectable scripts.
The subtext is colder: men remain the reference point even when the story is supposedly about women. The father becomes the gravitational center that keeps every “deviant” female character in orbit, ensuring her choices are never fully hers.
Context matters. Deneuve emerged through European cinema that repeatedly fetishized and punished female desire, from Belle de Jour onward. This line echoes that era’s convenient psychoanalytic weather: everything leads back to the family romance, especially when a woman refuses to be legible.
The specific intent feels double-edged. On one level, it’s a provocation, a deliberately blunt shorthand that mirrors the kinds of explanations cinema and tabloid culture love: the “damaged” woman, the broken home, the absent dad as narrative cheat code. On another level, it risks endorsing the very reduction it’s pointing at, collapsing wildly different experiences - violence, desire, sex work - into one paternal-shaped wound. That compression is the tell: it exposes how quickly society medicalizes or pathologizes female agency when it looks like appetite, anger, or survival outside respectable scripts.
The subtext is colder: men remain the reference point even when the story is supposedly about women. The father becomes the gravitational center that keeps every “deviant” female character in orbit, ensuring her choices are never fully hers.
Context matters. Deneuve emerged through European cinema that repeatedly fetishized and punished female desire, from Belle de Jour onward. This line echoes that era’s convenient psychoanalytic weather: everything leads back to the family romance, especially when a woman refuses to be legible.
Quote Details
| Topic | Father |
|---|---|
| Source | Help us find the source |
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