Abstract
In this article, I situate Tunisian filmmaker Kaouther Ben Hania as part of a new generation of women documentarists who have seized newfound cinematic liberties in post-revolution Tunisia. In what could be considered her first feature documentary, Le Challat de Tunis (2013), as well as in her award-winning first fiction feature film, La Belle et la meute (), Ben Hania focuses on gender violence against women in Tunisia. I examine, on the one hand, Ben Hania's unique and compelling use of the documentary form in Le Challat de Tunis; on the other hand, I ask how this highly localized film can be seen at once as national and transnational in design, intention, and appeal.
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