Films Directed by Women

Dona Hermínia will have to rediscover and reinvent herself because her children are forming new families. This supermom will have to deal with a new life scenario: Marcelina is pregnant and Juliano is getting married.

2014 film

2018 film directed by Susana Garcia

Filmed over the course of 23 years, The Betrayal is the extraordinary story of a family’s journey from war-torn Laos to the mean streets of New York. During the Vietnam War, the United States government clandestinely operated in the neighboring country of Laos – recruiting Laotians for CIA-backed missions. When the U.S. withdrew, the new Communist regime sought vengeance. Thousands were imprisoned or killed. One family, the Phrasavaths, made the courageous decision to escape to America. Epic in scope yet devastatingly intimate, renowned cinematographer Ellen Kuras’ directorial debut is a collaboration with the film’s subject and co-director Thavisouk Phrasavath. Featuring a score by Academy Award winning composer Howard Shore, The Betrayal is an astonishing tale of survival and a testament to the resilient bonds of family."

Chasing After You takes a twist on modern romance, after a young male pursues a single mother with no interest in a relationship; other than her one with God.

In this eerie, atmospheric tale, a young woman is on a train when she sees some people she thinks she knows from her childhood. On arriving home, her husband tells her that a certain countess has died. At that point, the film cuts to a scene of the countess singing in a mausoleum while the visual image of the graveyard's many tombstones passes before one's eyes. Back home, the husband -- also a "father-figure" -- is looking over his collection of wooden angels. Some time elapses, and he surreptitiously sees a thief come down through the chimney, steal some things, and then leave. To combat any recurrence, he builds an iron, escape-proof cage around the fireplace, and then goes away on a trip. When he comes back, he finds the thief dead in the cage. Thus far, the camera has only shown the husband in profile or from the back. Then there is another story about a young girl, with a spiteful, nasty mother, who is trying to cope with her own attraction to a man. When she grows up, she either commits suicide or manages to leave the past behind her. Is this little girl the same married woman on the train at the beginning of the film? In the final, dramatic scenes, the viewers see the husband full-face for the first time, as he confronts his wife. - Eleanor Mannikka, All Movie Guide

2019 film by Shannon Murphy

Hayat, a 12-year-old strong-willed girl, lives in a poor fishing village governed by dark tradition, in which every family must give away a daughter to the sea creatures who inhabit the waters near by. In turn, the sea creatures are hunted by the men of the village. Saved from this ordeal by her father, Hayat is outcasted by her village and considered a curse. But Hayat never surrenders. When Hayat’s mother gives birth to her new-born brother, Hayat must accept the brutal custom by sacrificing herself to these creatures or find a way to escape.

In 2016, after the hate-fuelled murder of a woman in Gangnam, young feminists gathered to talk about their experiences, which led to the ‘tsunami’ of the feminist movement reawakening in Korean society. This tsunami included street protests against misogynistic hate crimes, political campaigning in the upcoming presidential elections, protests against sexism and sexual violence in everyday life, and the ‘black’ protests calling for the abolition of the anti-abortion law. The Fearless And Vulnerable focuses on the activities and members of the Feminist Party (known in Korean as “Femidangdang”), a feminist group that was part of this tsunami wave. The pleasure and sincerity with which they conduct their activities are compounded with their courage in the face of conflict, and the sense of fear that permeates the community. The film shows Femidangdang meetings as well as the daily lives and thoughts of members during their activities post-2016.

To feminists of all generations - is life treating you well?

Stories of three women who have been living in Itaewon, Seoul, Korea since the era that the town was run by U.S dollars of the U.S. Army.

Project 1 _ Hong Hyung-sook The children who are enthusiastically painting and cutting a doll. What stories will be told at the Square? - Project 10 _ Kim Jeong-geun The janitorial worker from the Busan Subway Station, Kim Young-ja talks about how she hopes to see a clean world, just like how she cleans everywhere in the subway.

A love letter from a young mother to her daughter, the film tells the story of Waad al-Kateab’s life through five years of the uprising in Aleppo, Syria as she falls in love, gets married and gives birth to Sama, all while cataclysmic conflict rises around her. Her camera captures incredible stories of loss, laughter and survival as Waad wrestles with an impossible choice– whether or not to flee the city to protect her daughter’s life, when leaving means abandoning the struggle for freedom for which she has already sacrificed so much.

Yuan Xiangqin, a high school student, is deeply in love with Jiang Zhishu, her schoolmate. He rejects her, only for them to live together when the house that she resides in collapses.

Office worker Truly Lin goes on a journey through her memories. 20 years ago, she had a crush on the most popular guy in school. Taiyu, a ruffian and a bully, is in love with the campus belle. Truly teams up with Taiyu to tear the golden couple apart and help each other to get the ones they love.

《我们剩下的未完成》的是1978年至1992年期间拍摄的五部从未完成的电影，这些电影都是在阿富汗执政的各种共产主义政权的背景下拍摄的。这些电影中的场景，其中一些后来在其他作品中重复使用，由参与制作的电影制作人和演员将它们的位置和评论与当前的影片一起编辑，使我们能够深入到动作片和围绕当地历史和冲突的浪漫剧中。通过与电影制片人的交谈，玛丽安·加尼重塑了他们在面对审查和危险时如何追求对电影的热情。即使不可能拍出对政府有批评意义的电影，导演们也开发了一些方法，使他们能够继续实现自己的项目。因此，一幅矛盾的国家愿景出现了，介于政治委托作品和反映现实的愿望之间。这样，阿富汗电影的全景被打开，现实和小说、历史事实和民族神话、艺术实验和宣传都交织在一起。
What We Left Unfinished is about five never completed films made between 1978 and 1992 before the backdrop of the various communist regimes that came to power in Afghanistan. Scenes from these films, some of which later reused in other works, are edited together with current footage of their locations and commentaries by the filmmakers and actors involved in the productions, allowing us to dive into action films and romantic dramas that revolve around local histories and conflicts. By talking to the filmmakers, Mariam Ghani reconstructs how they pursued their passion for film in the face of censorship and danger. Even if it was not possible to make films critical of the regime, the directors developed methods that enabled them to continue realising their projects. A contradictory picture of the visions of the state thus emerges, lying somewhere between politically commissioned works and the aspiration to reflect reality. In this way, a panorama of Afghan cinema is opened up in which reality and fiction, historical facts and national myths, artistic experimentation and propaganda all become interwoven.

影片围绕一个印度村庄展开，在这里，村民的日常生活是切割宝莱坞、托莱坞的古老胶片制作小玩具。在诗意的社会人文纪实融合实验影像风格之下，导演加入一个虚构的情节：所有村民准备迎接本世纪最大的一次月蚀。

A wealthy socialite's daughter discovers she was switched at birth.

Parallel love stories of three young women in Berlin: Hannah - an unhappy attorney who sexually demeans herself in order to get at least some love and romance, Leni who runs a coffee shop and has just been ditched by her long term boyfriend, and Vivienne who ends up falling in love with a puppy-eyed pasta designer with 21 dogs.

In the last days of her mother’s life, 19 year old Tiffany crashes with five family members in a Las Vegas studio apartment. In order to make ends meet, her sister, a phone sex operator, introduces her to the world of internet fetish cam girls. This bizarre sexual coming of age story depicts sisterhood in a most unusual way.