<![CDATA[Abstract. This study examines how gender injustice is represented in Kamila Andini's Yuni (2021) and considers the implications of Mansour Fakih's framework for gender-responsive counseling. Using qualitative content analysis, the film was treated as the primary data source. Relevant scenes and dialogue were identified through repeated viewing, coded by scene, and grouped into Fakih's five categories: marginalization, subordination, stereotyping, violence, and double burden. Analysis followed Miles, Huberman, and Saldaña's interactive model, while interpretive credibility was strengthened through repeated observation, theoretical comparison, and intercoder verification. The findings indicate that all five forms are present, although subordination and stereotyping are the most pervasive across the narrative because they operate through school authority, marriage expectations, family pressure, and everyday gendered language. Violence appears more explicitly in Suci's account of abuse, whereas double burden is represented more implicitly through expectations attached to women after marriage. The study argues that Fakih's framework can inform gender-responsive counseling by helping counselors identify unequal power relations, challenge restrictive gender roles, and support adolescents' educational, career, and marital decision-making. Abstrak. Penelitian ini menganalisis representasi ketidakadilan gender dalam film Yuni (2021) karya Kamila Andini serta menelaah implikasi kerangka Mansour Fakih bagi konseling responsif gender. Penelitian menggunakan analisis isi kualitatif dengan film sebagai sumber data utama. Adegan dan dialog yang relevan diidentifikasi melalui penayangan berulang, dikodekan berdasarkan adegan, kemudian dikelompokkan ke dalam lima kategori Fakih: marginalisasi, subordinasi, stereotipe, kekerasan, dan beban ganda. Analisis mengikuti model interaktif Miles, Huberman, dan Saldaña, sedangkan kredibilitas interpretasi diperkuat melalui pengamatan berulang, perbandingan teoretis, dan verifikasi antarkoder. Hasil penelitian menunjukkan bahwa kelima bentuk ketidakadilan tersebut hadir dalam film, dengan subordinasi dan stereotipe sebagai pola yang paling meluas karena bekerja melalui otoritas sekolah, ekspektasi perkawinan, tekanan keluarga, dan bahasa gender dalam kehidupan sehari-hari. Kekerasan tampak lebih eksplisit melalui pengalaman Suci, sedangkan beban ganda direpresentasikan secara lebih implisit melalui ekspektasi terhadap perempuan setelah menikah. Kerangka Fakih dapat digunakan sebagai dasar konseptual untuk membantu konselor mengenali relasi kuasa yang timpang, mengkritisi peran gender yang membatasi, dan mendukung pengambilan keputusan remaja. ]]>
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