Search Results for "women in film"

Three women in Hollywood talk to the camera one summer (with a coda six months later). Sara is a casting director; her soliloquies are addressed to Samson (her blind infant son) and to Holly Hunter. She talks about her husband's refusal to touch their son and her discovery of his affair. Gina is a masseuse - blithe, solipsistic, scheming to steal the energy of Hollywood players. She frequently refers to her dead sister Wanda, kidnaped by their father. Phyllis, sexually abused by her father when a teen, addresses her son Eric. She's a producer, working on remaking Pasolini's "Teorema." As the project falls apart, so does she. All three hum or sing, "You made me love you."

Film production in Nicaragua prevails despite the lack of a film industry. This documentary explores the role of women filmmakers in continuing this art form and their passion to mobilize production efforts since the end of Incine, the only film industry.

Cultural historian Janina Ramirez presents a collection of intriguing and exciting short films by emerging women directors and artists. Each film gives a female perspective on modern-day topics from body image and new love to grief and belonging. Expect honest and refreshing storytelling that will make you laugh, make you cry and make you think. In a Room Full of Sisters; Blood Stains; Bridging the Gap; Cake; Ding-Ding, Next; Fruity; In Perpetuum; Owulide; White Dwarf; Cosmic Domestic; The Dead Are Jewels to Me; The Presence of Absence

Profile of four independent women filmmakers: Joanna Davis, Tina Keane, Annabel Nicolson and Lis Rhodes, who are shown at work with Felicity Sparrow of Circles, the Women's distribution group which they helped to found. They relate the struggle for a new cinema to the wider aims of the women's movement.

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

At last we are starting to hear the voice of women in the cinema. We celebrate it with this documentary on the Basque women moviemakers of yesterday and today, giving a global overview of the subject. Three female divers guide us through the topic of their films, their points of view, their dreams, their efforts to get somewhere, their contribution to the cinema and to society.

Women in West London Film Laboratories documents the bittersweet experience of women in West London film laboratories. It is the first and might be the last attempt to visually record the lives of lab women.

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From 1896 to 1927, over 80 women directed films worldwide.

This documentary focuses on a group of women artists, photographers, musicians and actresses who express their hopes in the Arab Spring of 2011 through their crafts. Not only do we get a look at modern day Cairo, Egypt, we also examine the challenges women face there.

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Keeping the Vision Alive is a documentary film containing the voices and images of Korean women filmmakers-both senior filmmakers and also the peers of director Yim. The film is Yim’s homage to both contemporary Korean women filmmakers, written by a filmmaker of the same age, and also to the history of women filmmakers in Korea. Yim does not reveal her own voice or opinion and lets the voices and images of the filmmakers speak for themselves through a non-interventionist camera. From the pioneers, Park Nam-ok, and Hwang Hye-mi, who directed First Experience in 70’s, to recent filmmakers, Byun Young-joo and Jang Hee-sun, the film traces their experiences, troubles, concerns and thoughts as women and women filmmakers. Keeping the Vision Alive calmly and enthusiastically encourages and celebrates the struggles, the resistance and the survival of women filmmakers in a conservative Korean film industry and a male-dominated and sexist social system. (Kwon Eun-sun)

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home. Featuring Kira Muratova, Natalia Ryazantseva, Inna Churikova, Nonna Mordyukova, and others.

Sparked by a public display of sexual harassment in 2012, GTFO pries open the video game world to explore a 20 billion dollar industry riddled with discrimination and misogyny. Every year, the gaming community grows increasingly diverse. This has led to a clash of values and women are receiving the brunt of the consequences every day, with acts of harassment ranging from name calling to death threats. Through interviews with video game creators, journalists, and academics, GTFO paints a complex picture of the video game industry, while revealing the systemic and human motivations behind acts of harassment. GTFO begins the conversation that will shape the future of the video game world.

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

Yuk Yin's father dies and her mother remarries to settle the debts. Yuk Yin lives with Auntie Wong. From then on, Chi Hung, Auntie Wong's son and Yuk Yin live and play together. But the Wongs move away. Yuk Yin stays with her mother. Her stepfather is mercenary. When Yuk Yin grows up, he pushes her to get married to get money. Considering her daughter's future, Yuk Yin's mother sends her away. Yuk Yin works in a restaurant. When she learns that her mother is ill, she marries a dying rich young man to get money for her mother's treatment. After her mother's death, Yuk Yin gets married immediately, but her husband dies on the wedding night. Her mother-in-law sees this as unauspicious and expels Yuk Yin. Later, Yuk Yin chances upon Chi Hung. They are still in love. They married and have a son Kwok Wah. But Chi Hung dies. Yuk Yin works as a dance girl to support their living. Kwok Wah grows up and cannot accept his mother's job. But soon he understands that she is respectable.

In a world ravaged by the plague, women hunted as witches and burned alive. Three women stand against this tyranny as one is accused of witchcraft. Keeping their own secrets and demons from each other they try to survive the dangerous journey.

$avy investigates the historical, cultural, and societal norms around women and money.

A verité legal drama about Judge Kholoud Al-Faqih, the first woman appointed to a Shari'a court in the Middle East, whose career provides rare insights into both Islamic law and gendered justice.

Daughter explores the way women are viewed in society by following three female characters on a Friday night out in St Kilda, who's lives become entwined and affected by an act of violence this fateful night. The award winning short film and an awareness project was inspired by the tragic murder cases of Jill Meagher in Brunswick and St Kilda's own Tracy Connelly, whose occupation as a sex worker was highlighted in the media, leading to her murder and personal story being sadly overshadowed. The main themes explored in the film are violence against women and victim blaming, shown through the eyes of three female leads, lead by Katherine Langford (13 Reasons Why) as Scarlett, Aisha Tara (Heartbreak High) as Jemma and Carolyn Rey as Alethea.

a chronological coming attractions overview of Jodie Foster’s career

A young farm maid overhears two cow-hands talking in the barn, and she becomes convinced they’re about to rob her. She barricades herself in a room and calls the police. Her call wakes the chief, who rallies the country justice constabulary and they set off toward the farm, in steam-car and on foot. Meanwhile, the maiden’s parents rush to save her. Everything points toward a showdown in the barn, where no one, including the police force, will be cowed.

During the last moments of a romantic involvement with an older man, Martina finds herself deeply overwhelmed by disappointment and confusion, left alone to question who she really is.

Hannah wasn't always happy about the existence of her 'Vajayjay'. She talks about how she used to imagine having sex would be like a Céline Dion song and how she discovered masturbation thanks to her PlayStation controller. She's in a love-hate relationship with her vagina and chronicles how her feelings towards her sexuality have changed over time.

A poetic cine-essay about race and Australia’s colonised history and how it impacts into the present offering insights into how various individuals deal with the traumatic legacies of British colonialism and its race-based policies. The film’s consultative process, with ‘Respecting Cultures’ (Tasmanian Aboriginal Protocols), offers an evolving shift in Australian historical narratives from the frontier wars, to one of diverse peoples working through historical trauma in a process of decolonisation.

A popular group of video game content creators must face the ultimate lesson in teamwork when a haunted multiplayer game begins killing them one by one.

Meg, a millennial painter with ADHD, navigates her life on the way to a job interview. What starts as a simple task turns into a race against the clock as she encounters society’s stigmas, unlikely allies, and challenges from her past.

Belgrade, 2022: A photojournalist is threatened by right-wing extremist groups in her Serbian home and flees to Germany with her daughter. But then she also experiences increasing strong threats and attacks in her new home.

A woman in a Hollywood dubbing studio struggles with race and preconceptions. The short film depicts the life of an African American woman passing as a white woman working in the film industry during the 1940s. It calls attention to the lack of African Americans in the film industry during that era.

A docu-drama shot in 1970, but not completed until 1973, the film sought to encapsulate in an experimental form issues that were under discussion within the Women’s Liberation Movement at this time and to thus contribute to action for change. In its numerous community screenings, active debate was encouraged as part of the viewing experience.

What do fictional characters do with the rest of their lives, once their stories have been told? This charmingly offbeat, deadpan fantasy attempts to answer that question.

Eight Pan-Asian female filmmakers’ powerful anthology film illuminates the immigrant experience in Aotearoa New Zealand through the lives of eight Asian women connected by the house they call home.

A compilation of "coming attractions" from bad '50s melodrama through the greatest disaster movies of the '70s. Features a chain of your divas including Bette Davis in What Ever Happened to Baby Jane?, Jeanne Moreau in Mademoiselle, Elizabeth Taylor in Butterfield 8 and Boom, Kim Novak in The Legend of Lylah Clare, Susan Hayward in I'll Cry Tomorrow, and Judy Garland in I Could Go On Singing. One clips is a young Rock Hudson promoting Christmas Seals. Bride of Trailer Camp includes specimens of movie trailer artistry.