Spoor

Spoor (2017) represents the fullest expression of Holland's evolving feminist vision, presenting elderly Janina Duszejko as a radical departure from conventional female protagonists. Janina embodies the “nasty woman” archetype in its most complete form—uncompromising, sexually vital, and willing to use violence to defend her values. The film's ecofeminist framework connects domination of women with environmental destruction, suggesting both stem from patriarchal attitudes prioritising control over care. Holland's collaboration with daughter Kasia Adamik and Nobel laureate Olga Tokarczuk creates powerful intergenerational feminist alliance informing the film's vision of alternative community. The hunting culture dominating the village represents patriarchal violence in literal form, with animal suffering serving as a metaphor for systematic oppression. Janina's age becomes politically significant, challenging both ageism and conventional association of female agency with youth and beauty. The alternative community emerging around Janina demonstrates possibilities for kinship based on shared values rather than blood ties or social convention. The film's moral ambiguity regarding violence against hunters represents Holland's most radical departure from liberal feminist pieties prioritising niceness over justice.