Self
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.
Writer
Although married and pregnant Rose has always been mother's favorite, it is younger sister Iris whose life is shaken up by mother's death. Suffocating, Iris spirals out of control and copes by losing herself in sexual oblivion.
Director
Although married and pregnant Rose has always been mother's favorite, it is younger sister Iris whose life is shaken up by mother's death. Suffocating, Iris spirals out of control and copes by losing herself in sexual oblivion.
Director
A woman unloved by her mother, has a string of affairs with increasingly unsuitable men.
