Film Criticism 21 "Tulitikkutehtaan tyttö", 1990 by Aki Kaurismaki

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A minimalist Finnish film that, much like Bresson's cinema, strips away unnecessary dramatic elements to focus on the essence of its characters and their internal conflicts. Iris, a factory worker who supervises the production of matches, ultimately becomes like one herself—used by everyone, an evident metaphor for a kind of Cinderella who stoically endures inside a small, suffocating box, seeing all her chances for transcendence frustrated.
In this sense, Tulitikkutehtaan tyttö (The Match Factory Girl) is not as overtly violent as Haneke's cinema—the violence remains off-screen—nor as transcendent as Kieslowski's work—there is no redemption, only a kind of silent revenge. Tragedy permeates the film from beginning to end, reflecting the bleak and oppressive life of Iris.

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The film uses tragedy not only to develop Iris's character but also to critique the social and familial dynamics that drive her to her final decisions. This tragic lens highlights the despair and isolation Iris feels, and how these emotions culminate in extreme actions as she attempts to reclaim some form of personal agency.

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