In prison Ocalan became a theory head, and he synthesized a kind of hodge-podge anarcho-feminist revolutionary theory that Rojava is ostensibly based on. I'm not familiar with the specific quote but in context this is likely about challenging the assumed role of men in society to uplift women's position.
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I think Skinamarink is the scariest flick I've seen in a long time, maybe ever. I think the the sense of worsening dread as the plot develops and savagery and hopelessness ratchet up is pretty unique.
I think you're right about the depressing :doomjak: feeling too, it stuck around with me for a few days. The fact that they're so young, and thus haven't fully developed a consistent set of rules for how the world definitely should be, means they begin adjusting their sense of normal to this heinous scenario that the audience understands to be completely demonic.
Toward the end of the film the spirits seem to supplant the role of the parent while maintaining their role as tormentor, which is such a fundamentally dire and perverse development.
Really great, no notes I thought it was perfect. The Hammer and Podcast fellas did a review on it last weekend (these are the guys that used to do film reviews with Breht on Rev Left Radio Back in the day.) Taylor has an interesting interpretation of the spirits as an embodiment of ideology itself - while I wouldn't phrase it exactly like that, I do think that line of thinking is what made it stand out to me.
If you're going to try watching it, go to a theatre, don't watch it on your laptop while scrolling Hexbear, it is made with the expectation you pay attention and allow the horror to sink into you