The filmmaker may never make a feminist masterpiece, but there is room for his brand of escapism so long as others have space at the table, too.
Being a master of fantasy is both Tarantino’s greatest strength and most problematic quality. Fantasy is escapism at its most effective; Tarantino has a way of making films that suck you in. He is also a middle-aged, straight white man, and his fantasies brought to life reflect this. Fantasies are both deeply personal and unfiltered, not made with consideration for how they might make other people feel or concern regarding potentially problematic content.
Watching any of Tarantino’s films, there are at least a handful of alienating moments when I suddenly feel pushed out, struck by the notion that this movie isn’t When the credits roll and the lights go back up, those moments can’t just be swept up and tossed away. Yet, the enjoyment of the experience can’t be written off either.
I have asked myself these questions walking out of several Tarantino films, but it was only after seeing that I finally was able to reach a certain peace regarding my feelings towards Tarantino’s work. Yes, there are several of his films I enjoy, and I’m done feeling guilty over it. Enjoying a good Tarantino flick doesn’t make me a failure of an intersectional feminist.
Identity inherently shapes fantasy. The fantasies that have made it to the big screen throughout movie history have overwhelmingly been crafted white men, people who check the same demographic boxes as Tarantino. But as of late there are signs that the film industry is taking steps towards a more inclusive future, and that’s good news for everyone, Tarantino fans included.
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