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In František (Frank) Daniel’s films we find two situations that do not seem to belong to his work. These are scenes from his first and last films, in which the perspective is reversed and for a brief moment we see a fictional world through female characters. The matter is all the more surprising because Daniel did not emphasize the issue of feminism in his theoretical work. The aim of the study is to show how both scenes stand out from the rest of the films and to try to explain how they can be seen in the context of Daniel’s theory of narration. Methodologically, the paper combines an analysis of film form, work with archival sources and analysis of Daniel’s theoretical books.
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