Watching Revenge I was reminded, perhaps with reason, perhaps without, of Lars Von Trier. Let's be clear: Coralie Fargeat's film is light years away from the Danish filmmaker's cinema. BUT. Let's think about Dogville. A woman is the victim of a group (here of three men, there of an entire citizenry); the woman, or, according to the phallocentric tradition, the weaker sex, is crushed by the group; the woman annihilates the group. In Revenge the feminist discourse, conducted through anatomical exaggerations to the limits of credibility (which, however, are the basis of the "contract" that author and spectator stipulate at the beginning of watching a film), is not a mere question of revenge. This now belongs to the history of cinema: a woman who takes revenge has been seen millions of times (Kill Bill, Lady Vengeance, Lady Snowblood,...). In Revenge, revenge becomes an instrument through which to reverse the balance of power between the sexes: the three men present in the film appear to be the weaker sex. And this is shown clearly - but in a low voice - in the final scene of the film, when the protagonist, finally vis à vis with her main objective, is framed with the camera which, from below, follows her entire body: once at the pubis, the belt around the waist becomes a phallic shape of much greater proportions than those previously seen, albeit fleetingly, of the man.