Film is a visual medium which a ppeals to the senses of viewers . Through films ,rnm essages a r e easily conveyed through pictures; values are constructed, a ndrnalready existing ones implanted deeper. T a king this dis tinct feature of film intorncon s ide r ation , feninist film criti c ism is concerned with how m a instrea m film srna r e structured in a way w h erein stereotypical images are attributed t o femalerncharacters . The fe mini s t film theory I se lected for the analysis of the selectedrnfilm s is primaril y developed by Laura Mulvey.This theory basica lly uses thernmirror stage o f Jacques Lacan and Sigmund F reud's Fetishism to explain howrnnarrative film s are structured a nd represent fema le characters as m ere objectsrnof male's gaze and how a spectator is compelled to ide ntify himself/herself withrnthe masculine subject on the screen.rnMaking use of t hi s theory, an attempt I S made to analyze the way femalerncharacters are made to appear in two m a le -authore d Amharic film s. Whetherrnthe female char acter s are represented simply as objects of fetish or as s ubjectsrncapable of independent action is one of the points touched upon in thernanalysis. This thesis a lso looks into the issue of wheth er male characters a r erng iven special privileges in the sele c ted film s in contrast t o female c h aracters,rnwhether the male characters are positively portrayed so that spectators canrnd erive a narcissistic visual ple asure .rnThe close fem inist analysis of two films s ho ws the presence of stereotypicalrnportrayal of fe m a le characters wherein they appear as mere objects of male'srngaze. They are controlle d a nd guided by the male c h aracter s , who a r e a lwaysrnfound a round them. In contrast, honorable values a nd the pote ntial to winrnwhatever they n eed to h ave a re attributed to male ch a r acters. This in turnrnm a k es the male characters get the attention of spectators, who placernthemselves in t h e p osition of male characters.