Kvinnor, kvinnor, kvinnor(1997)

Requiem for a Tribe(fa)

Hajar is a 55-years-old Bahktiari woman from Iran who is betrayed by her family and forced to abandon her nomadic lifestyle. Climate change, urbanization and social issues have drastically diminished the traditional migratory activities of the Bakhtiari tribe from Southwestern Iran.

SPEAKABLE(en)

Two girls in their early 20s explore topics of femininity, girlhood, and normalized violence perpetrated on women.

$avvy(en)

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

Island Home Country(en)

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 Film for Discussion(en)

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.

The Judge(en)

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.

A Motorcycle Saved My Life(en)

The open road presents a point of departure for director lori lozinski to process deep-seated grief. Revisiting the formative experiences that drove her ambition, lozinski examines the influence of her parents in the present light of day.

Because We Have Each Other(en)

Janet Sharrock has two children and Brent “Buddha” Barnes has three; the pair has a meet-cute at the local RSL, marry and unite their families, Brady Bunch style. Now grown up, Becky (famous for being one of only 80 people in the world with Highly Superior Autobiographical Memory), Jessica (a comedian living with depression), Brendan (who aspires to take over Buddha’s repair shop), and young Kylie and Dylan laugh, cry, contemplate existence and dream big with their parents, finding joy and stability in one another as they face immense change.

I Am an Ox, I Am a Horse, I Am a Man, I Am a Woman(en)

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.

Vrouwen achter de camera(en)

History of Dutch women working behind the scenes of moviemaking.

Reason for Seeing: Correspondence I(es)

When she realizes that her grandmother, the woman who raised her, is losing her sight, the director decides to explore the bond that unites them through the episodes of non-vision that these three generations share, the memories of the past, the misunderstandings and the new memories they seek to have in common.

In These Pages(bn)

This short documentary sifts through the pages of a woman's diary who has recently begun to write her memoir. As she looks back at her life and some of her memories, the film explores the ordinary act of writing and the value and meaning it may hold in mundane everyday life.

Beyond Ratings(hi)

Three women share their experience of navigating the app-world in the metro city. The sharings reveal gendered battles as platform workers and the tiresome reality of gig-workers' identities against the absent bosses, masked behind their apps. Filmed in the streets of New Delhi, the protagonists share about their door-to-door gigs, the surveillance at their workplaces and the absence of accountability in the urban landscape.

The Good, The Bad, and the Beautiful(en)

A documentary reflecting on women in film and the entertainment industry through the ages led and hosted by some of its most beloved female icons.

Wallpaper(pt)

How to Be a Candid Woman(en)

To produce speech, a set of mechanisms must be brought together. What is the normal articulation for speech? How to produce the sounds that make it up in the correct way? A physiological analysis of the aspects of speech shows us how: the jaw must move in a certain way; the air must be expelled from the lungs in another. Based on the concepts stated in the film "Normal Speech Articulation" (1965), produced by the University of Iowa (USA), we intend to reflect on the way women have been represented, and consequently educated, over the years, both in film and in the media. Largely composed of archival footage, this film intends to make evident, through a montage inspired by Structuralist movements, the violence of this education.

Corpo Presente(pt)

A hybrid feature film that investigates contemporaneity through the body and its countless possibilities of expression and meanings. The film puts the body and the idea of the body in evidence, through metalanguage, articulation and confrontation of documentary, fictional and performative languages. The film follows the trajectory of the main character who uses her own body to formulate universes and investigate the meanings that are drawn in it. In a kind of subjective diary written on her skin, she records sensations and reflections, building relationships with thinkers, performances and archival materials, which lead her to other bodies and other stories.

No Father, No Mother(pt)

Three young people circulate in different mobility categories. The newly emancipated city goes through its everyday experiences.

Cold Lands(eu)

'Cold Lands' makes a personal journey through the images and cinema, guided by filmmakers and artist like, Theo Angelopoulos, Bego Vicario, Wim Wenders or Rut Hillarp among others. In this non-fictional road-movie their vision of what cinema is, of what is hidden behind the images, intersects with the world of beekeeping, architecture and the human landscape.

She Who Must Be Loved(en)

A documentary that tells the epic life story of Alfreda Glynn, 78-year-old Aboriginal woman, stills photographer, co-founder of the Central Australian Aboriginal Media Association (CAAMA), and Imparja TV, mother, grandmother, great grandmother, radical, pacifist, grumpy old woman, who in equal measure loves the limelight and total privacy. Part bio-pic, part social history, it details the life of a woman born beneath a tree north of Alice Springs in 1939, her childhood living under the Aboriginal Protection policies and the impact, both good and bad they had on her life.