Kvinnor, kvinnor, kvinnor (1997)

지난 60여년 동안 연출했던 작품을 통해 그녀의 영화 속에서 살아 숨쉬는 모든 것들과 함께 웃으며 행복해했던 관객들에게 사랑과 기쁨을 전한다!

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.

Experimental thriller about a female assassin who avenged the killing of a friend and now becomes the hunted.

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.

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.

How to ride a mechanical bull and not care that everyone is picturing you naked.

A story told in four parts, "He" explores the swell of poetic love and the breathless aftermath of it's heartache.

This music video comes from a position of feminine self-expression and autonomy. We stand as witnesses to a woman giving birth to another part of her identity. In this case, let’s take it in a literal sense as we will see The Saint pushing The Whore out of her body. We begin with these two women celebrating their sensuality and having a firm grasp of their autonomy. And then as the story progresses, we are introduced to a new character who’s convinced it’s his right to take that agency away. But he’s clearly misguided. DIVA! is the pursuit of amplifying the very fact that The Saint in us can co-exist with The Whore as well as The Bitch, The Slut, The Boss, The Motherfucking Diva, and a lot more. It is a celebration of our endless rebirth.

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.

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.

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.

Artist Kate Blackmore looks at motherhood and mobility, film and feminism through the prism of Margaret Dodd's 1982 classic short film 'This Woman is not a Car.'

Noah, an insecure middle schooler, struggles to make sense of a momentary blackout she suffers from. Her mother who has already made her own assumption of the incident, seeks the help of Noah's sister.

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

'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.

History of Dutch women working behind the scenes of moviemaking.

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.

A woman wakes up on a beach tied in a plastic press wearing only underwear and high heels. “Not again”, she sighs and decides to track down the enemy and strike back. She gets a companion from an older woman, who has been pushed to the borders of society. During their journey through classical cinematic landscapes these nameless women from different generations struggle to connect and understand each other’s perspectives while their passion for men and male attention gets in away.