Vagabond
These are aspects of her feminist cinecriture which are political because - as with feminist writing which refuses to inscribe contours - in their disgressiveness they go counter to dominant male-filmaking practices and are therefore, counter-cinematic. An it is also true that her particular approach of textural intertexualization is equally counter-cinematic in that it works 'in opposition to the naturalized dominant male discourse to produce textual contradictions which would de-naturalize the workings of patriarchal ideology.
This film is a very unique one of it's time. It begins by taking a new look into the road movie. The main character, Mona, (a woman) is not seen as a sex object as in previous films of this era. She is seen as having a difficult and trgic life. She fights through her struggling life, but most of all she is seen as having a past. By adding this component we add depth to her character.
The use of flashbacks and tracking throughout the film gives the audience a different feel to the story. Often times Mona is not seen as the object to be looked at or filmed. The camera often 'stumbles' upon her while filming and then wanders off again. The use of flashbacks in the film can be distracting and confusing which consist many times of flashbacks within flashbacks.