![]() ![]() Wanda drifts: to a bar, to a mall, to a movie theater. Wanda gets divorced: in an early courtroom scene Wanda’s husband accuses her of abandoning him and their two children, a charge she does not refute. The plot is ostensibly dramatic, though its quiet unfolding is hardly heart-pounding (this is not a complaint). The 1970 film would be the only one Loden directed she died, ten years later, of breast cancer. We are forty-five minutes into Wanda, Barbara Loden’s directorial debut Loden also wrote the script and stars as the titular character. After a moment, she closes the passenger-side door. Her tone has the mildest of lilts and there’s something about the angle of her head, of her neck that suggests an attempt to seem smaller but she’s not pleading, not exactly. The woman looks over her shoulder at the world outside the car, at the roadside greenery. He turns to her only briefly as he says the words then he turns away. The man pulls the car over he reaches across the woman’s body and opens the passenger-side door. The woman wears a collared shirt, green flowers on a white background her blonde hair is in a high ponytail. The man wears a brown suit and clear-frame glasses he sports a mustache. Power and submission in the actor-director’s 1970 film ‘Wanda.’Ī man and a woman are in a car on highway. ![]()
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