Films Directed by Women

Seven girls start a cult where each of them must embody one of the seven deadly sins. They realize there's more to their religious town after they go missing, one by one.

Mikami, an ex-yakuza of middle age with most of his life in prison, gets released after serving 13 years of sentence for murder. Hoping to find his long lost mother, from whom he was separated as a child, he applies for a TV show and meets a young TV director Tsunoda. Meanwhile, he struggles to get a proper job and fit into society. His impulsive, adamant nature and ingrained beliefs cause friction in his relationship with Tsunoda and those who want to help him.

Muzi, 22, comes home to Hangzhou for Chinese New Year, where she plays her roles as a daughter, a half-sister, and a girlfriend. Roaming in this city that feels so familiar yet distant, Muzi searches for a place where she belongs.

An impossible love. Two young people in love. Vera and John can't find a space nor time, nor identity in this life that can solve this love. Apparently everything is beneficial to them, their families, friends and the land where they live. The issue is time. The time they don't actually have (studies, families, distant houses) and the time of their own life - being so young they are subject to what that life brought upon them, that's when the "story" of the film begins, therefore linked to a life that until then was not chosen by them. This is one reason, which leads to a runaway process. Escape in the possible return to this world.

Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

North of Italy, the von Kettens dispute the forces of the Episcopate of Trent. Herr Ketten seeks marriage in a distant country, Portugal. After their honeymoon journey back home, Ketten leaves again for the war. Eleven years elapsed… Rumours are running about the presence of that 'foreigner' in the castle. Some say she's a heretic. Until one day, the Bishop of Trento ends up dying and, with the signature of peace, falls the background of von Ketten's life. Will the Portuguese win, where death seems to be moving in?

Freely based on Gide ('Paludes') and Hawthorne ('Wakefield'), this is a film about a writer who never wrote anything and who blows at nightfall the breath of frost. The poem by Carlos Queiroz to which the above sentences belong is not cited in 'O som da Terra a Tremer', but the atmosphere is that, between written letters never received. Fiction within fiction, stories within stories, like those Chinese boxes in which there is always one inside another. Or the two margins of the same river, always being lateral.

Joáo Bénard da Costa, director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director's power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of "The Annunciation" (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of 'Leonardo da Vinci', and the relationship between a trend-setter master and his disciples.

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

Two film directors and a writer are in Portugal for an expedition through various images, moments from the history of Western allegorical representation. The writer is Jean-Louis Schefer, and this tale encapsulates his life’s mission. What is the connection between the danses macabres of the dying days of the Middle Ages, Hieronymus Bosch’ Temptation of St Anthony, a landscape by Fragonard and the prehistoric rock engravings of Foz-Côa? There is no connection, Schefer admits from the start, save for the arbitrariness of taste. No scholarly connection, but rather a relationship, lively and fleeting, a friendly conversation resumed at each stopping point of this journey reflecting on pictures and what they retain
of history. Schefer talks a lot; his language is fluent, clear and focused. His two friends say little, listening attentively, reviving the conversation from time to time. Does this make it a monologue in disguise? Yes, because this film peopled by friendship conceals the portrait of a thinker and writer as only cinema can: an intellect in action, a way of being alone or in company, leading the philosophical conversation, an entire life a ected by pictures, compact in front of a few figurative objects. And no, because the conversation is woven between Schefer’s words, Rita Azevedo Gomes’ dramatisation and Pierre Léon’s editing, and the film, without another word, unfurls another idea that amplifies, discusses and surpasses the writer’s thought. Passion for painting haunts the composition of every shot, which it frames like a picture in a museum or a Portuguese landscape. The editing punctuates the journey of a micro-history of cinema in playful contrast to the erudite discourse. As Schefer says of danses macabres, “It moves, it’s liquid and solid at the same time, it moves forward towards nothing, into nothing. It’s history, carrying o the living”. (C.N.)

Jorge de Sena was forced to leave his country. First he moved to Brazil, and later to the USA. He never returned to Portugal. During his 20-year-long exile, he kept an epistolary correspondence with Sophia de Mello Breyner Andresen. These letters are a testimony of the profound friendship between the two poets, letters of longing and of desire to “fill years of distance with hours of conversation”. Through excerpts and verses, a dialog is established, revealing their divergent opinions but mostly their strong bond, and their efforts to preserve it until their last breaths.

2002 film by Rita Azevedo Gomes

Years after declaring her eternal virginity and opting to live life as a man in the mountains of Albania, Hana looks to return to living as a woman as she settles into a new existence in modern-day Milan.

The Love Europe Project is a collection of 9 short films by various directors from different European countries.

Inés works as a dubbing actress and sings in a choir in Buenos Aires. While on an idyllic trip she suffers a traumatic episode that she can’t recover from. She has trouble sleeping and experiences very vivid nightmares as strange sounds begin to emerge from inside her. Awake, Inés feels suddenly surrounded by people that seem to come from her dreams.

Detective Chávez, a family man and a tough cop, is put in charge of the investigation into a homicide that took place in the most exclusive circles of high society 1980s Buenos Aires. At the crime scene, Chávez meets officer Gómez, nicknamed The Goose, a good-looking rookie who becomes his right-hand man and goes undercover as bait to catch the murderer.

Filmmaker Alexandra Pelosi travels across the United States chronicling the unprecedented social and political upheaval of 2020 as it unfolds. From political rallies, environmental protests, Black Lives Matter marches and the still-developing Covid-19 crisis, Americans on both sides of the political divide react to events that have defined this turbulent year.

聚焦活跃在1970年代的美国连环杀手、强奸犯——“金州杀手”。他犯下至少50起入室强奸、13起谋杀，一直隐藏在黑暗中。2018年，前警察Joseph James DeAngelo被起诉，疑为这名杀手。剧名来自金州杀手威胁一名受害者的话：“你将永远开不了口，而我将消失在黑暗中。”
本剧改编自作家Michelle McNamara对金州杀手的同名纪实调查书。

The close relationship between two fun-loving brothers comes under threat when a beautiful, sensitive girl arrives on the scene. As the younger brother comes of age, the inevitable jealousy, confusion, rivalry and lust place their brotherly love in jeopardy.

Asia is the single mother of 17-year-old Vika. Vika's deteriorating health urges Asia to finally find her voice as a mother and to embrace and cherish their time together.