As voice notes to friends unpack the feminist implications of wanting a man while generally disliking them, the Philippe Gaulier-trained clown wriggles around on the floor in an oversized suit with something bulging down below. Directed by Cecily Nash, Daddy’s Little Girl is divided neatly between these two forms: half wry analysis told with a bitter laugh, half nude-heavy clowning that bares its teeth at the ease with which men command praise, affection and power. This tightrope walk leads to some smart contrasts, as Aszkenasy nuzzles a wobbling dildo while her voiceover worries about the worship of the male ego. She hunches backwards to whip out a wobbling penis with grinning bravado, then crumples in shame to put on a pad. Her point is about the slippery slope of the bad behaviour we allow men to get away with, but it feels less artfully done than the rest.