Oriana is an ongoing film, started in 2016, based on the 1969 book Les Guérillères by feminist writer Monique Wittig, who began writing it in 1967 in a political context pervaded by decolonization struggles and women’s liberation movements. Appropriating the literary canon, she constructs a long epic poem describing a mythical, colourful guerrilla-style march to overthrow both the patriarchy and the language on which it is founded. This is a war of pronouns: ‘They’ [in French: ‘Elles’, third person plural feminine] are
a collective entity, as well as the main character engaged in a bloody struggle against the patriarchal regime. The book’s three sections are divided by circles, while a poem consisting of a list of names cuts through the narrative at every five pages. The final section is the one Wittig first wrote, the part where the heavily armed ‘They [Elles]’ victoriously overthrow the regime. Then ‘They say, If I take over the world, let it be to dispossess myself of it immediately, let it be to forge new links between myself and the world’. Without quite forming a narrative thread, the text functions as a tool that enables Beatriz Santiago Muñoz to reflect on feminism and decolonialization through the transformation of language. Inspired by Augusto Boal and the Theatre of the Oppressed, the artist develops a performative work with the actors integrating the camera as an active entity within this apparatus. Currently shown as a multiple-channel video projection, the film takes place in the future, after Les Guérillères, after the fall of patriarchy.