Some observers may find that the emphasis on Wuornos vs. The post-feminist volleys carry the courage of Kreitzer's convictions about the convict who motivated them, and land with uncanny artistic aim. Kreitzer finds pertinent substance within her concentrated didactic sights. Its narrative rails at the skewered society that (inaccurately) dubbed Wuornos 'America's first female serial killer.' The media-driven voyeurism obscured arguments of self-defense raised by an unspeakably abused, profoundly damaged hooker also, that slayings of prostitutes abated during Wuornos' Florida killing spree.
Self Defense, which concludes Kreitzer's 'Women Who Kill' triptych, pulls no punches.
'The West Coast premiere of Carson Kreitzer's 2001 fantasia about executed murderer Aileen Wuornos is stunning, true political theater with a visceral punch.
