Films Directed by Women

少女玛丽·阿德勒（凯特琳·德弗饰演）报警说自己在家中被一名闯入者强奸，但调查人 员以及她身边的人都怀疑这件事的真实性。与此同时，在数百里外，侦探格雷丝·拉斯马森 和卡伦·杜瓦尔（分别由艾美奖获得者托妮·科莱特和梅里特·韦弗饰演）在调查两起非常 相似的强奸案时相遇，她们合力追捕这名潜藏的连环强奸犯。
《难以置信》改编自 The Marshall Project 和 ProPublica 出版的普利策奖获奖文章《令人难以置信的强奸事件（An Unbelievable Story of Rape）》（作者是 T·克里斯琴·米勒和肯·阿姆斯特朗），以及美国生活（This American Life）广播剧集《Anatomy of Doubt》。本剧由荣获奥斯卡提名的苏珊娜·格兰特 和丽莎·查罗登科执导，讲述了难以言表的创伤、坚定的决心和惊人的适应能力。
本剧集由 CBS Television Studios 打造，剧集主管苏珊娜·格兰特与萨拉·缇波曼、卡尔 ·比沃利、丽莎·查罗登科、阿耶莱·沃尔德曼、迈克尔·夏邦、凯蒂·柯丽克、理查德· 托弗尔、尼尔·巴尔斯基、罗宾·斯米、玛丽共同担任监制。

An island that is impossible to leave for those who are born there. A man is kidnapped, brought to the island and filmed. Kidnapper Emerson is a young island-born man who has a passionate wish to make a film. He envisions a film about his own life, but needs help with this. His radical solution to get the film made leads to a film about both him and his hostage, re-enacting their lives before the camera, while allowing poetic licence.
When real life increasingly shapes the narrative of the film, things get out of hand, including the film itself. Island is a frame narrative with many layers and references. Partly thanks to the convincing lead cast, the blurring of the lines between (their) fiction and reality is transferred to our notions of cinematic reality. Evolving from a playful game with cinema to an allegoric tale of Brazil’s untold stories.

Five friends drink beer and chat at Violeta's house. Bit by bit, their stories of love, loss and suffering are told, revealing the acts of love and friendship that helped them through the hardest times of their lives.

Sonya is an old maid stuck in a town that long ceased to recognize her existence but only until one fateful morning when a mysterious corpse arrives at the footsteps of their family owned funeral shop. Bringing forth strange luck and fortune, Sonya instantly gets drawn to the corpse’s mystique, reinvigorating not only her life but also that of her father Mang Rudy. But luck would eventually dry up, provoking further distress back to Sonya’s life. She faces the reality that her existence is nothing more that of the corpse, at the tail end of its mortality staring life wither away..

在煩囂混沌都市中穿梭的我們，哪裡可以寄存那蠢蠢欲動的慾望？喪偶多年的寡佬老闆，單純膽小的青頭仔，魁梧陰沉的毒販，花心貪玩的小鮮肉，四個失落的靈魂，錯落在城市不同的角落，尋愛，尋歡，尋慰藉，尋依靠。尋尋覓覓，沉沉寂寂，他們追求的那個她到底是虛幻還是真實存在？

Ana, a young Spanish woman from a bourgeois family, is about to finish her studies and get married, but she is not happy. After a very unlikely event happens, her life turns around and everything changes.

Mandy is a mother, a writer, a nihilist. Mandy is a modern woman in a crisis. Raising a son in the midst of a female revolution, mining the pain of her parents’ separation and professionally writing about a love that no longer exists, she falls upon a troubled man, Pete, who’s searching for a sense of worth, belonging and ‘restored’ Male identity.

1957年至1964年间，波兰诗人佐菲亚·波丹诺维奇·佐娃给波兰作家J·泽夫·维特林写了25封信。他们都流亡到北美。这些信件是哈佛大学霍顿图书馆馆藏的一部分，电话号码是Slavic 7。一个女人来这里检查信件，几天的铅笔，皱折的纸和褪色的信封，晚上在酒吧，和一个不在镜头前的人说话，试图表达工作给她带来的感觉。只有在加拿大的场景中，在另两位波兰移民的周年庆典上，我们才知道她是谁，诗人的曾孙女，她的遗产的执行人，这一角色导致了她与姑妈之间的紧张关系。但是，其他的紧张关系，如果不是普遍存在的话，就像两个人之间被历史、信的内容、信的物质形式、过程和心理所分开的那种紧张关系。Zofia的文字在屏幕上闪现，如字幕、笔迹、印刷品、阅览室、投影仪、酒店房间，他们的情感渗透到朴素的空间中，与沉默和风琴音乐一样融合在一起，仍然是什么和不再是什么的忧郁，档案馆的忧郁。
Between 1957 and 1964, Polish poet Zofia Bohdanowiczowa wrote 25 letters to Polish author Józef Wittlin. Both were in exile in North America. The correspondence is part of the Houghton Library holdings at Harvard University, call number MS Slavic 7. A woman has come there to examine the letters, days of pencils, creased paper and faded envelopes, nights at the bar, speaking to someone off-camera, trying to articulate how the work makes her feel. It’s only in the scenes in Canada, at the anniversary celebration for another couple of Polish immigrants, that we even learn who she is, the great-granddaughter of the poet, the literary executor of her estate, a role which causes tensions with her aunt. But other tensions are just as, if not more pervasive, like those between two people separated by history, the content of a letter and its material form, process and psychology. Zofia’s words flash up on screen, as subtitles, as handwriting, as print, in the reading room, on the projector, in the hotel room, and their sentiments seep into the unadorned spaces, merging with silence and organ music alike, the melancholy of what still is and what is no longer, the melancholy of the archive.

2019 film directed by Josephine Mackerras

Neto is a middle class teenager living a normal life. After his father finds a marijuana cigarette on his pocket, he is sent to a mental institution, where he gets to know a completely absurd and inhumane reality in which people are devoured by a corrupt and cruel system.

Rosa is in her late 30s, a child of the 1970s with divorced parents. She lives with her own family in São Paulo. Overwhelmed by an eruption of individual passions, lies and the expectations of three generations, she tries to discover who she really is.

Everyday family life as perfectly normal madness. “As Melhores Coisas do Mundo“ follows a few days in the life of the 15-year-old Mano, who is fighting on two fronts: his parents have just got divorced and he is going through puberty. Mano tries to make his way through life, with its first sexual experiences, his depressed brother and his self-centered parents. It’s a humorous homage to the pitfalls of daily life and the diversity of life.

An evening in an old time dance hall in Sao Paulo introduces us to local characters who reminisce about the past, wonder about the future, have fun, flirt, fight and, of course, dance. Its earthy humour and eternal themes of ageing, loneliness and desire is an antidote to grumpy old men and women everywhere.

Laís Bodanzky and Luiz Bolognesi travel around the small cities of Brazil, exhibiting short films in public squares. From the south of Bahia to the farthest parts of Amazon, this documentary discovers a country that watches a movie and sees itself on the screen for the very first time, in the turning of the 21st century. What’s seen and heard is truly surprising.

At bottom is a tale of exploring the imagination of a writer, plus a tale of exploring the city of Beirut. The film deals with the initiation to love and the female soul.

A young, free-spirited dancer and student of Arabic poetry falls in love with her thesis supervisor while trapped in a relationship with a man who disapproves of her dancing.

Two young girls of the war generation, Yasmin and Leila, are in search of Beirut. When they meet an elderly film enthusiast with a secret store of Lebanese films, they persuade him to screen his collection for them. So begins an initiation into the myths and images of Beirut, but the girls want cold figures and facts, war babies indifferent to the memories evoked.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

This film from the heart of the desert shows the conflict between the Algerians and the Moroccans at El Aioun, and the Saharan resistance of the Polisario Front. A never ending story which is still one of the reasons for the conflict between Algeria and Morocco.