The feminists Jaye spoke to are hearing none of it. “He’s posing the idea that maybe we don’t live in a patriarchy where men oppress women, but what looks like a patriarchy is a result of gender roles.” “What Farrell is saying challenges feminist ideals, and I think that’s why he’s a threat to the gender discussion,” Jaye says. Although death rates for breast cancer and prostate cancer are about the same, six times more money is spent on breast cancer research in the U.S. Father’s rights are legally secondary to women’s in family court and child custody cases. Women live five years longer on average than men. They have much higher suicide rates and are three times more likely to be murder victims. Men traditionally take on high-risk jobs in mining, agriculture, forestry and fishing and are 11 times more likely to die on the job than women. Rather than having power, he argues, both sexes historically have been cast into gender roles: women as child bearers and men as providers, the ones who go out into the world to earn money to support the family.Īs an illustration of male powerlessness, Farrell and Elam point out that men are the only sex drafted to fight wars. In his bombshell 1993 book, Farrell defines power as having control over your life. Farrell, who will appear with her at Sunday’s screening, lives in Mill Valley. In Warren Farrell, author of the “The Myth of Male Power: Why Men are the Disposable Sex,” a bible of the men’s movement, she found its intellectual godfather practically in her own backyard. She spent a great deal of time interviewing the big bad wolf of MRAs, Paul Elam, founder of the website “A Voice for Men.” The Australian petition to block the screening of “The Red Pill” branded him “a pro-rape racist.” And feminists continue to call his organization a hate group, citing the Southern Poverty Law Center, which denies ever making such a denouncement. I thought I was making a sensational film about this underground movement of misogynists. I was going to go in there with one or two camera people and hope that I don’t get hurt. I thought I was going to make a film about women haters. “And it was the first time in my life I started to look at men’s issues. “This is the first and only film about men’s rights ever made,” she says. Until a couple of high-profile rape cases piqued her interest, the mysterious men’s rights movement was a rabbit hole she’d never thought of jumping down. Theater officials quickly apologized for “the terrible mistakes” that led to the ban and rescheduled it. In 2010, the nonprofit Lark Theater canceled a screening of “Daddy, I Do” after two board members objected to showing it. It took her more than three years to finish “The Red Pill,” her third documentary after “ Daddy I Do,” a look at the world of purity balls and abstinence pledges, and “The Right to Love: An American Family,” about same-sex marriage rights. The supposedly progressive weekly went so far as to refuse to accept a paid advertisement for the film, a requirement to qualify for an Academy Award nomination.Ī former Hollywood actress (“I got tired of playing the blonde who always got killed”), Jaye turned to documentary filmmaking as a way to make films that meant something to her. A vicious review in the Village Voice insinuated that “The Red Pill” was financed by men’s rights activists. In Melbourne, Australia, for example, a feminist petition decrying “The Red Pill” as “a misogynistic propaganda film” succeeded in getting a screening canceled there. “Feminist academicians are threatened by that kind of dialogue,” she says. They’re livid that the 30-year-old San Anselmo resident would have the audacity to present evidence that challenges their condemnation of men’s rights organizations as misogynist hate-groups infested with “rape apologists.” And many of her former sisters in the women’s movement may never forgive her for it. By the time she finished the documentary, which screens Sunday at the Rafael Film Center, she could no longer in good conscience call herself that. When Marin filmmaker Cassie Jaye began working on her new documentary, “The Red Pill,” believed to be the first ever film on the men’s rights movement, she considered herself a feminist.
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