Films Directed by Women

Set in 1937 Stalinist Georgia, the film traces the parallel destinies of a mother, condemned by the government as "an enemy of the people" and exiled to a work camp in Siberia, and her daughter, who meanwhile is sent to an orphanage. Arriving at the overcrowded work camp, the mother and other women who are not considered strong enough to be labourers, must journey still farther, crossing the icy Siberian landscape in search of food and shelter. At the same time, the daughter escapes the orphanage and returns to her former home, where she finds that a KGB officer has taken up residence. He protects her and an uneasy rapport between them develops—one of abhorrence and attraction, need and suspicion.

Fatma 75 is a pioneering film: it is the first non-fiction film by a Tunisian woman, a feminist essay-film, and the first in a series of powerful films about strong female figures in the country. The film was made in the UN International Women's Year, 1975, and has long been recognised as one of the most important films from North Africa.

Four women meet at Dar Joued on the eve of Independence. With different ages and social conditions, they are condemned to live together under the authority and injustice of their jailer: "El Jaida". They will share memories of the outside world, joy, emotions and distress of their daily lives.

Free and a multi-talented artist, Habiba Msika was one of the brightest stars of her time, the twenties. Inspired by the real-life of the artist, the film evokes the last years from 1927.
 Punctuated by the jolts of a changing time, this tumultuous stage in Habiba Msika's life was branded by the love that Mimoun, a wealthy landowner, and Chedly a young poet from a good family, both dedicated to her. In Berlin, during a triumphant tour, she meets the oriental music star, the Iraqi Baghdadi, and is introduced to Parisian life by Peter, and a dandy of disconcerting charm. Back in Tunis, Habiba Msika's life is carried away by the frenetic whirlwind of success, controversies, and thwarted passions until the final tragedy of her death.

Through the history of the traditional female costume and the sum of the signs with which it is charged, the heroine of the film goes in search of her identity.

A poet dies and another one, younger, feels an obligation to promote her work. She is joined by a team of women filmmakers. The film begins with this unusual triangle but, interestingly, it grows into something more complex and subtle than a traditional research project.

A mother of three is afraid of losing her husband if he finds out she's pregnant again, so she tries to conceal it.

An impressionistic, black-and-white portrait of the day-to-day of a nonagenarian woman as she experiences the final act of her life. Danuta Szaflarska stars as Aniela, who lives in a massive yet rapidly-deteriorating wooden house, filled with souvenirs and treasures of eras gone by. Aniela runs into conflict in her dealings with others, particularly a nasty neighbor who sees her property as an eyesore and wants to do everything in his reach to buy it up and tear it down, and her married adult son, who - though kindly - triggers paranoia within Aniela (she cannot help but believe that he is scheming and planning to wheedle the property away from her). Driven aback by these individuals, Aniela finds one of her only sources of comfort and reassurance in her daily talks with her dog, Fila - and develops a great affinity for spying on the neighbors' doings whenever boredom creeps in.

2005 film by Dorota Kędzierzawska

Another World traces the biography of Danuta Szaflarska, one the most acclaimed female actors of Polish cinematography. Szaflarska’s rich body of work includes memorable roles in the classics Forbidden Songs (1947) and The Treasure (1949). At ninety-seven years of age, her ongoing work in film and theater includes contemporary material, such as her role in the stage play Między nami dobrze jest (Things Are Good Between Us) by Dorota Masłowska. The film is the result of a close collaboration between Szaflarska, director Dorota Kędzierzawska, and cinematographer Artur Reinhart. The veteran actress talks openly about many facets of her life, from her rural childhood and youth in occupied Poland, to revealing anecdotes from her long career.

三个无家可归的男孩，两个兄弟，他们是好朋友，住在俄罗斯的铁路车站。有一天，他们决定去在寻找一个更美好的明天。他们想越过边界偷偷进入波兰，寻找他们想要的一切，可是孩子们还没有家庭，朋友，幸福... ...
Dorota Kędzierzawska's film tells the story of three homeless Russian boys who travel to Poland for a better life, with the hope that l ife is different and better somewhere else. The boys wanted to change something in their life.

A film set in a small Polish village in the '60s that deals with a young girl's awakening sexuality. Mala, about 13, lives with her unmarried mother and has a boyfriend of her own age. The village is sent into a turmoil by the arrival of the clan of Gypsies, who set up camp in the field. Gypsies are ostracized and damned as 'devils' by the conservative villagers. Mala is attracted to the Gypsies. But the locals attack their camp with fire hoses and Gypsies move on

1975年，随着联合国“国际妇女年”的临近，法国电视台播放了一个名为“妇女年：感谢上帝”的节目。“一切都结束了，”这本书汇集了法国男性的各种可疑言论，当时唯一的女性客人，当时的女国务卿弗兰·奥伊丝·基洛德应该对此作出回应。Maso和Miso Vont en Bateau是女权主义者视频活动家“Les Insoumuses”（卡罗尔·罗索普洛斯、德尔芬·塞里格、纳贾林加特和IO安娜·维德尔）对今晚的回应：他们愤怒而机智地从编辑桌上插手，不仅曝光了节目，而且还揭露了吉洛德作为父权主义者的滑稽行为的办公室。社会。“没有电视图像能代表我们；我们将借助视频讲述我们自己的故事。”
这个集体的另一个作品是《S.C.U.M.宣言》，该宣言分阶段阅读同名的1967年作品。当男性主导的世界事件的新闻图像在电视屏幕上闪烁时，Delphine Seyrig传播了Valerie Solanas关于男性的论文——根据宣言，男性在生物学上是不完整的，并且受到阴道嫉妒的驱使。
As the UN’s “International Year of the Woman” came to a close in 1975, French TV ran a programme called “The Year of the Woman: Thank God! It’s Over,” which assembled various questionable statements by French men to which the only female guest, then State Secretary for Women, Françoise Giroud, was supposed to respond. Maso et Miso vont en bateau is how the feminist video activists “Les Insoumuses” – Carole Roussopoulos, Delphine Seyrig, Nadja Ringart, and Ioana Wieder – responded to this evening: with fury and ample wit, they intervene from the editing table to expose not only the show, but also Giroud’s very office as being the farce of a patriarchal society. “No television image can represent us; we’ll tell our own stories with the help of video.”
Another of the collective’s works is S.C.U.M. Manifesto, which stages a reading of the eponymous 1967 work. As news images of male-dominated world events flicker across the television screen, Delphine Seyrig disseminates Valerie Solanas’s theses on men – who, according to the manifesto, are both biologically incomplete and driven by vagina envy.

A portrait of a family in Berlin in the late 1970s, this film focuses on the mother.

2009 film by Helga Reidemeister

2001 film by Helga Reidemeister

Berlin, the German capital again, a few years after the fall of the Wall. The city in upheaval is also changing the lives of its inhabitants. A young photographer experiences these changes as a rupture, he looks into an unclear, unsettling future and increasingly feels like a stranger in his old city. He and his friends from the generation of the children of the Wall try to find a new identity without losing the old one. Young artists who fail the profitability test of the market economy. In his search, Robert Paris ends up far away, in India. Back in Berlin, he started developing photos again - the first in years...

Dieser Film ist ein politisches Roadmovie. Es ist eine Reise um den ganzen Globus, auf der Suche nach dem Sinn in den Zeiten des Krieges und gleichzeitig eine Reise in die eigene Vergangenheit. Das zerstörte Kabul weckt Erinnerungen an die verwüsteten deutschen Städte nach dem zweiten Weltkrieg. Es ist ein Film, der in einem inneren und äußeren Ausnahmezustand entstanden ist.