Films Directed by Women

Russia in 2000. The end of the post-Soviet era. The province of Ivanovo. The Mironovich family keeps a wake: their youngest son Andrej died in the war. His older brother Anton meets Andrej's last wish: He drives his motorcycle through the city at sunrise. Meanwhile, in love with Anton Vika is raped after the disco. Her mother commits a senseless murder at home. There are no guilty parties.

2018 film by Icíar Bollaín

Marta, a 17-year-old girl, is on holiday in an African resort with her with her estranged dad and annoying little brother. Martha’s fascination for Khouma, a Senegalese cameraman who works filming the tourists' excursions, will add even more tension to her already troubled relationship with her father.

Raül, a farmer that tries to grow organic food, hires Iurie to help him in the fields. Iure is a Moldavian wrestling fighter, but in order to earn a living he has to work in whatever it comes. Slowly, their personal histories intertwine with those of three solitary women: Maria, an elder that has to leave the country house where she has always lived to join a retirement home; Rose, a nurse from Philippines who just arrived into the country; and Maribel, a prostitute that has less and less clients. The destinies of all these characters become entwined as the summer goes on. The Plague is a film of intertwining stories, that offers a moving portrait of life in the outskirts of Barcelona. The main characters are not actors. They play as themselves after four years of working with the director. This long process has permitted Ballús to reveal the uncertainty and the rebel spirit that underlies contemporary crisis-hit Spain.

Lois, 16, has only one dream: becoming an astronaut. However, although she’s gifted in physics, she has a big problem: Lois weighs over 200 pounds – a family trait she’s inescapably stuck with. Then, just when everything seems lost, Lois meets Amélie, Stannah, and Justine: three teenagers shattered, like her, by life’s tough breaks; yet ready for anything in order to leave with her for outer space…

Anne, a brilliant and dedicated advocacy lawyer specialising in society’s most vulnerable, children and young adults, lives what appears to be the picture-perfect life with her doctor-husband, Peter, and their twin daughters. When her estranged teenage stepson, Gustav, moves in with them, Anne’s escalating desire leads her down a dangerous rabbit hole which, once exposed, unleashes a sequence of events destined to destroy her world.

The film follows a group of friends and their highs and lows in pursuit of romantic redemption. It takes place over three years and is divided into eight parties : New Year's Eve, one housewarming, Midsummer, a wedding, a surprise party, a name of celebration, anniversary and birthday parties. The friends are all late thirties or early forties. They fought all with their own idea of ​​what the perfect love really is, and must re-evaluate their perception in the course of history.

Iris Carsen wants her daughter to find a man who is 'marriage material' in other words 'rich' until she finds herself in love with her own man who is not 'marriage material.'

James, a college freshman and computer genius, is enlisted by his womanizing roommate, Lance, to code the ultimate hook-up app. But when James discovers that his divorced mother is using the app, unexpected consequences ensue.

在20世纪60年代和70年代，德尔芬·塞里格站在国际电影界大牌人物的镜头前。随着视频技术的兴起，她开始让自己的女权主义者与其他电影制片人和活动家卡罗尔·罗索普洛斯合作。1975年和1976年，这对夫妇询问了他们在法国和美国的24位同事——包括朱丽叶·贝托、艾伦·伯斯汀、简·方达、雪莉·麦克莱恩和玛丽亚·施耐德——关于她们在电影业中作为女性的经历。
对女演员的采访是一个令人震惊的、不足为奇的时代记录，对在一个忙碌于维护男性幻想机器的行业中工作做出了清醒的评估。赛里格问：“如果你是一个男人，你还会选择成为一个演员吗？“或者”你曾经和另一个女人演过戏吗？如果是，她的角色是竞争对手还是知己？“—从而启动反射过程。令人惊讶的不是答案——类似的缺乏细微的角色和适当的表现在今天仍然非常明显——而是有人曾经问过正确的问题。
In the 1960s and 70s, Delphine Seyrig stood before the camera for the big names in international cinema. With the rise of video technology, she began to make her own feminist works together with fellow filmmaker and activist Carole Roussopoulos. In 1975 and 1976, the pair asked 24 of their colleagues in France and the United States – including Juliet Berto, Ellen Burstyn, Jane Fonda, Shirley MacLaine and Maria Schneider – about their experiences as women in the film business.
The interviews with the actresses are a shockingly unsurprising record of the era, creating a sobering assessment of working in an industry busy maintaining the machinery of male fantasies. Seyrig asks: “If you’d been a man, would you still have chosen to become an actor?” or “Have you ever acted in a scene with another woman and if so, was her role that of a competitor or a confidante?” – thus initiating a process of reflection. What’s astonishing is not the answers – a similar lack of nuanced roles and appropriate representation is still very much apparent today – but rather the fact that here, for once, someone was asking the right questions.

2007 film by Sonja Heiss

A model family's happy life unexpectedly goes off the rails when the carefree Hedi, played by Laura Tonke, suddenly starts having panic attacks. First mental illness and then drug dependency – the happiness that these happy-go-lucky thirty-somethings once took for granted suddenly seems unattainable, and their world fragile and uncertain.

2016 film by Anne Émond

It starts as a one night stand that evolves in a long discussion with infinite subjects between a québécoise and an immigrant.

1978. In a small village in Bas-St-Laurent, Guy’s tragic death is a shock for the Leblanc family. For many years, the real cause of his death is kept hidden from some members of the family, including his son David. The latter in turn starts his own family with his wife Marie. He lovingly raises his children Laurence and Frédéric, but deep within him harbours a persistent melancholy.

Juliette is in her second year of high school and she has to handle the mockeries of other students. Complexed by her overweight, the young girl enters teenage years full of twists and turns.

In 1987, during the austere days of Thatcher’s Britain, a teenager learns to live life, understand his family, and find his own voice through the music of Bruce Springsteen.

2012 film by Sophie Lellouche

In 1981, the New Zealand government invited the South African rugby team to tour New Zealand. This effectively split the country in half. Patu! is the story of the protest movement, HART (halt all racist tours). This documentary shows footage of protester meetings, rugby games and various beatings meted out to protesters from police.

Rewi Rapana returns to the small country town of Te Mata after his family has left the district. His arrival rekindles old tensions as well as renewing family ties. He is seeking an identity and a permanent place to call home yet desperately hiding a secret from his past. Oddly enough there is one person with whom he finds peace of mind. She is an old woman known as Kara. A special relationship develops between Rewi, Kara and Kara’s great granddaughter Awatea.