Films Directed by Women

The Spanish family Gabarre-Mendoza is celebrating a birthday, when it is interrupted by a police inspection. In ‘La Cañada Real’, a shanty town just outside Madrid, the inhabitants are forced to leave their illegal homes. Each member of the family struggles in their own way with their unstable position.

Teen artist Angie Chen turns to secret hook-ups with the heartthrob of her private school after her parents’ sudden divorce.

There are the images of before, the images of after and the letters. The images of after come first, they stem from the same surveillance camera in Wuhan, empty streets that only throng with people again on April 4th, 2020.

Lisa Weber’s portrait of Claudia, who had a son when she was 15 and now lives together with him, her mother and her brother in Vienna, is an affectionate and gentle film about the passing of time and about what happens when seemingly nothing is happening.

Lisa goes on a summer vacation with her grandparents, travelling from Vienna to the North Cape by car. She films the journey, in this seemingly simple and light-hearted doc, but soon its length becomes a metaphor for the couple's long-lived and troubled relationship.

An urban train link, the RER B, crosses Paris and its outskirts from north to south. A journey within indistinct spaces known as inner cities and suburbs. Several portraits, all individual pieces that form a whole. We.

Steve, a 25-year-old Black man from the Paris suburbs, seeks to escape the violence of his immediate surroundings by training to become an actor at one of France’s most prestigious drama schools. But soon he discovers that the theater world is only interested in having him inhabit “Black” roles.

2021 film

Three officers are tasked with escorting an illegal immigrant to Charles de Gaulle airport, where he will be forced onto a plane and sent back to his homeland. But when they find out about the truth, they have to make a difficult choice.

Red Cow is a coming-of-age film that takes place in the days leading up to the assassination of Rabin and depicts the life of Benny, 16, orphaned from mother at birth and the only child of Joshua - a religious, right-wing extremist, in those critical junctures when she is forming her sexual, religious and political awareness.

Follows British and American Black characters of different generations navigating their way through today's society, offering a critical perspective on the state of the nation.

It is often maintained that films present intimate insight into the lives of their protagonists, usually implying a psychological or physical closeness.

In a poor neighborhood crisscrossed by a polluted river, Tati, a 14-year-old girl, is forced to grow up alone in a troubled and confusing context. While learning to sail on the river, she dreams of being a boat rower. A job only ruled by men.

Claudia and Maria, roam the streets of the city of Guatemala. Claudia works at a call center and is uninterested in the world around her. She lives with her activist grandfather, who tries to persuade her to join his cause. Maria unlike Claudia, is more spontaneous and lives with her mother in the outskirts of the city. The chaotic streets are filled with common stories of abuse, unforgiving police officers, and charming secret corners. Everything changes one night when they are attacked by three men. Although they manage to escape, Claudia is faced with the dilemma of choosing revenge or listening to her grandfather’s advice.

L, a student in India witness to the government's violent response to university protests, writes letters to her estranged lover while he is away.

A woman named Amanda lies stricken, far from home. A young boy named David questions her, trying to make her remember. She's not his mother, he's not her son. As her time is running out, he helps her unravel a powerful, haunting story of obsessive jealousy, an invisible danger, and the power of a mother's love for her child.

The picture compares the fate of two heroines Anna and her lively and energetic sister-in-law Vasilisa, who openly defies the old way of life.

A travelling circus troupe during the Civil War. A kommissar tries to transfer the wagon into an agit-prop van. The Whites conquer the town. The kommissar hides among the artists.

名著《静静的顿河》首次被搬上银幕，由苏联第一位女导演Olga Preobrazhenskaya执导。
While it was not unusual to find a woman director at the helm of a Russian film in the early 1930s, neither was it an everyday occurrence. Olga Preobrajenskaya's Cossacks of the Don focuses on plump heroine Akainya, who is married to Stephen but is in love with Grisha. For his part, Grisha loves Akainya but is compelled to marry Natalie. Meeting clandestinely in the moonlight by the banks of the Don, Akainya and Grisha plan to run off together, but WWI destroys their plans. Grisha returns from the battlefield to discover that Akainya has betrayed him. Knocking her down in full view of the entire village, the "hero" stalks off to parts unknown. No, Cossacks of the Don is not a feminist manifesto, despite the presence of a woman in the director's chair.
Actress, director, and scenarist Olga Preobrazhenskaya is considered to be one of the most important women in Soviet cinema. She was not only one of the most popular actresses of early Russian film, she was also that country's first female director. Preobrazhenskaya began her career as an actress at the Moscow Art Theater where she recieved her training. After that she acted in many provincial Russian theaters before starring in her first film Kliuchakh schastia (1913), a tremendously popular work based on bestselling novel by Anastasia Verbitskaia. She went on to star in several more big-budget pre-revolutionary movies until 1916 when she co-directed Baryshnia-krestianka with Vladimir Gardin. She did not direct again until 1926 after she had been teaching in the first Soviet film school for several years after the 1917 Revolution. Her next two films were targeted for children. After 1927 she collaborated with director Ivan Pravov until 1941. Their best known film, considered one of the greatest films of early Soviet cinema, was Baby riazanskie (1927) the story of a traditional young woman who is raped by her father-in-law. Preobrazhenskaya continued directing until the end of the '30s.

Don Cossack Stepan Razin vowed to take revenge on the boyars for his tortured friends. Having led the rebellious peasants, he becomes the leader of an entire army. Humiliated and insulted people flock to him from all over the Russian land.