Ughhh the storytelling! So beautiful!!!! Honestly, I had no expectations going in, and I felt like someone hit me on the head with this book— in the best possible way. I love that don’t sugarcoat things, are (as) honest (as can be), and don’t try to teach a lesson outright, and this part-memoir did really well there! I was laughing, I was sad, I was angry, I was happy— I felt it alllll while reading this. Some essays hit a nerve more than others, but that’s more on me.

This is very well-written. This author has a talent for storytelling. It seems to be part story, part personal account. I found it funny, yet thought-provoking.

Such an interesting book! Now I understand why sometimes while I watch a movie I think: ''She is doing great, but there's something wrong.'' You have given a voice to many thinks me and my sister, who I talked to about this book before posting this review, have thought since childhood. We have never really talked about it and your book gave us that opportunity. Thank you!
Please, keep writting like this. I would love to read more of your books.

It took me a while to get through this book because it requires a lot of your attention - and that's a good thing considering it treats its topic with the seriousness it deserves. It blends the author's personal narrative with descriptions of the film industry and some film criticism in a way I really enjoyed and it ultimately also makes a societal critique. It's overall beautifully written, deeply enraging, and gave me a lot of further reading material. It also made me want to rewatch some of the movies it mentions and add some others to my list for future movie nights. Chapter 16, "Grow up, Heather. Bulimia is so 87", affected me more than I'd like to admit. I might have to reread this after I sit with it for a few months.

This was such an inspiring, different read. I'm a fan of memoirs with a personal distinction, and blending personal stories and societal issues with cinema? Here for it.

The book is divided into 5 sections: Origin Story, Coming of Age, Adult Material, Workplace Drama & Strong Female Character, and explores themes such as growing up in a blended family, mixed heritage, sex and masturbation, sports, menstruation, eating disorders, representation, and more, both in terms of personal experiences and how these are reflected (or aren't) in mainstream media.

I could relate to some of Hanna's personal backstory (being of mixed heritage, divorced parents, love film) so I already felt naturally connected to most of the topics. I felt seen about so many things, especially all things mixed heritage.

I found her pen to be sharp and witty, raw and honest, and I love her writing style. Some would say she's feisty, difficult even, but that's what they say about me sometimes too. I felt so seen and challenged to reconsider some of my views/opinions, which is precisely what I want a critic to do, it's hard not to love this. I can't wait to read more of her (future) work and reviews.

Hanna Flint, Strong Female Character, Footnote Press February 2023.
Thank you NetGalley for providing me with this uncorrected proof for review.

Hanna Flint has compiled a compelling autobiography with a mixture of events from her life and their connections to a host of films – those that she admires, and those which she disparages. More than this, her story has links to other women, people from diverse backgrounds, the film industry, and social change. It is a book that cannot be read without being challenged. Sometimes that challenge is directed to the language Flint uses, which at times seems blatantly provocative. However, more importantly, her analysis of ideas that permeate society and are perpetuated by film create debates well worth having. In using examples from the films she has viewed, the autobiography projects a broader world than usual when people write their story.

Flint begins her discussion of her childhood with her search for a doll that reflects her physique – none is available, and the impact on this young girl is that there is a female ideal, and she is not it. This is not a new idea, it has been debated along with other targets impacting on childhood understandings of what is perfect, what is needed to measure up and the failings associated with not doing so. Nevertheless, this makes an excellent beginning to an autobiography that is different. It will be interesting to read any analysis Flint might make of the recently released Barbie.

Flint groups her experiences under the headings Origin Story, Coming of Age, Adult Material, Workplace Drama and Strong Female Character. Within these sections some of the subheadings provide clues to the way in which Flint comes to topics that are typical in an autobiography but demonstrate how the typical becomes atypical under her clever, formidable and provocative hand. ‘By Order of the Princess’ is, of course an introduction to Flint’s search for a princess doll that looks like her. Flint’s princess is clearly not to be about an inanimate object, her story will have movement, almost tragedy. ‘What a Hunk’ introduces the idea of the ideal male, and yes, this is so – Flint’s first crush. However, this predictable story quickly morphs from the value of being seen and the tragedy of losing that image of place and stature to the introduction of the film Little Giants and its impact on Flint. One of the most powerful and distressing chapters is ‘I can’t even remember to shave my legs’ detailing the important role of hair in a woman’s life. Under Workplace Drama an expected subheading is ‘My native habitat is the Theater’. But Flint moves from the family watching movies, dreams of becoming an actress, to details about some of the films that have impacted on her life, and her eventual start in the workplace. Whatever the topic, film and discussion of characters, ideas and plots are a mainstay of the chapters, ensuring that this autobiography weaves life, film, ideas and social commentary together in a work that begs to be read again.

Strong Female Character is a compelling read, flawed at times though I found it. The writing is accessible, the ideas interesting and the whole a relatively easy read. This is such an important aspect of this book – it needs to be read, the ideas need to permeate the film, women’s and the wider worlds, and Hanna Flint has assisted substantially in meeting this demand.

I would say this book is very much an autobiography, using the author's extensive knowledge of film to illustrate the challenging way that women and especially ethnic minority women are portrayed in our culture. Some parts are easier to read than others, especially if you relate to the trauma of periods starting at inconvenient times and the often awful way that first experiences of sex are for most women. I enjoyed her intellectual questioning of film tropes and narrative structures and the subtle way she points out, that quite a few people responsible for making so many misogynist films, have now been called out for their abusive behaviour off screen. A fascinating and important book.

With thanks to Netgalley and the publisher for an ARC in exchange for an honest review.

Perhaps the essays get a bit repetitive but I found this a really interesting critique of women and minorities in film. There are some really insightful talking points and enjoy the subtle level of wit that keeps the writing interesting, which I think is important in non-fiction.

Like many essay collections, I found this to be a bit mixed. I did not share many cultural touchpoints with the author, which I think impacted my enjoyment of the book. Flint draws necessary attention to the ways women and minorities are portrayed and represented, both on film and in the broader scope of the film industry.

A fantastic insight! I wish this was around as when I was studying. A wonderful selection of essays I'm sure to refer back to time and time again.

A wonderful selection of essays to dip in and out of. Thank you to NetGalley and the publisher for an advanced copy of the book for a review.

Delighted to highlighted this new release in “She Said: 1 Books for International Women’s Day” for the Books section of Zoomer magazine. (see column and mini-review at link)

This essay collection from film critic Hanna Flint reads like a mix of memoir and cultural critique. At times I found it a bit repetitive. A stand out was the essay reflecting on her own sexual assault and how film normalised misogyny prior to the Me Too movement.

As someone who has recently really got into watching films, this was a joy to read. I loved how the author interspersed memoir and film together. It made me thinks about films differently and it was a fun and enjoyable read.

Because of NetGalley I was given access to this title and wow! From the very first page I was captivated by Hanna’s use of language and shocked by how saturated my childhood was with white women. It’s a thought provoking book of essays which makes you want to rewatch every thing she’s mentioned! As a media student this would’ve been classed as essential reading and would’ve really helped with my own dissertation.

Hmm. There are aspects of this collection I loved - the film criticism, the lightning speed through which Flint examines so many aspects of so many global cinemas (it's so easy to stick to Western, I feel like I came out of this with a bunch of things to watch). There's an element of autobiography weaved into each essay, which took me a while to get used to, but did help enhance my enjoyment of the essays. My particular gripe is perhaps just a personal one - most of the essays were way too long. This book is less than 300 pages and it took me two non-consecutive attempts to finish it. I found my attention drifting as the point just kept being made and then elaborated and elaborated on, rather than turning to another idea. I don't know, I think it's my attention span. I just wish there had been a bit more editing done here. 'Forensic' is definitely the right word to use to describe the writing - I just don't know if my brain can handle that much depth for so long.

Blending memoir and film study, Hanna explores what makes her who she is. To paraphrase High Fidelity - what came first, the movies or the misery? A really enjoyable read.

A great book.

Thanks so much to NetGalley and the publishers for letting me read this book in exchange for my review.

Hanna Flint is a London-based critic, journalist and host who has been covering film and culture for nearly a decade. In this book she combines memoir with critical theory and reflects on how cinema has been the key to understanding herself and the world we live in. I found this title a very enjoyable and fast read despite not being of her millennial generation,

Strong Female Character by Hanna Flint is a combination of memoir and film theory exploring the cinema industry.