In Chantal Akerman’s film, two outstanding instances of assemblages are evident; the interview with Akerman’s mother, Natalia, and the inclusion of a hierarchy of images where a car accident or kiss is positioned high than washing up. Inclusion of Natalia’s interview revealed how much people were speaking about women, and this presented a perfect ground for the production of the film. The long static shots were meant to ensure that the audience is always conscious of the character’s position, and the position of women in the society (Akerman N.pg). Moreover, the "hierarchy of images" places a kiss high than the chores that were stereotypically believed to be women’s not accidentally but intentionally to show the position of women in the society. The director wanted to illustrate that women’s works originates from oppression and what comes out of oppression is motivating (Akerman N.pg). The oppression that women were subjected to create a sense of bitterness and togetherness in them, a factor that eventually empowers them to start fighting for their own liberation as depicted by Jeanne’s mother, a prostitute, when she fatally stubs a client on the 3rd day with a pair of scissors.
A seditious element of Daisies is evident in its treasonous duplication, profane citation of intertexts from both low and high cultures and dissolute textual association in the realm of performing feminity. Through ridicule and parody, the director defiles the symbols of male supremacies and reputation while rendering the outrageous extravagances of its protagonists as heroic by montaging images from low and high cultures (Katarina 43). While one might argue that Daisies condemns the capitalist ideology through inclusion of excess food and eating that depicts conspicuous consumption, it also pampers women’s avaricious nature. For instance,