Hrafnhildur Gunnarsdóttir

When 90% of Iceland’s women walked off the job and out of their homes one morning in 1975, they brought their country to its knees and catapulted Iceland to the forefront of today's global fight for gender equality. Unexpectedly funny, laced with evocative animation and powerfully told by the women who lived it – this is the true story of 12 hours that launched a revolution.

When 90% of Iceland’s women walked off the job and out of their homes one morning in 1975, they brought their country to its knees and catapulted Iceland to the forefront of today's global fight for gender equality. Unexpectedly funny, laced with evocative animation and powerfully told by the women who lived it – this is the true story of 12 hours that launched a revolution.

The documentary by Mari Soppela focuses on glass ceilings, a metaphor for the invisible borders between men and women in work life. Talk about glass ceilings is usually associated with women’s opportunities to advance to well paid managerial positions, but the documentary connects itself more broadly to the structural problems of work life from women’s perspective. Glass ceilings are long trials about equal pay, having to continually prove one’s skills, and 85-cent euros. The topic cannot be handled without intersectional crossings: what are invisible glass ceilings for some, are solid concrete for others.

A documentary that chronicles the twenty years of Pride parading in Iceland. Filmmaker Hrafnhildur Gunnarsdóttir has shot the parade from the beginning, with all its pride and power, beauty and sometimes ugliness. She mixes old material and new interviews with activists who reminisce about their participation in the parade, it’s impact on society in general, and what Pride means for the LGBTQ+ community.

A documentary that chronicles the twenty years of Pride parading in Iceland. Filmmaker Hrafnhildur Gunnarsdóttir has shot the parade from the beginning, with all its pride and power, beauty and sometimes ugliness. She mixes old material and new interviews with activists who reminisce about their participation in the parade, it’s impact on society in general, and what Pride means for the LGBTQ+ community.

A documentary that chronicles the twenty years of Pride parading in Iceland. Filmmaker Hrafnhildur Gunnarsdóttir has shot the parade from the beginning, with all its pride and power, beauty and sometimes ugliness. She mixes old material and new interviews with activists who reminisce about their participation in the parade, it’s impact on society in general, and what Pride means for the LGBTQ+ community.

The opening of The Vasulka Effect couldn’t be more apt: Steina Vasulka addresses her husband Woody through various TV screens. He does the same and replies. A perfect image of the relationship between the free-spirited, groundbreaking pioneers of video art. After meeting in Prague in the early 1960s, they relocated from Czechoslovakia to New York, where they later founded The Kitchen, their legendary art and performance gallery.

The opening of The Vasulka Effect couldn’t be more apt: Steina Vasulka addresses her husband Woody through various TV screens. He does the same and replies. A perfect image of the relationship between the free-spirited, groundbreaking pioneers of video art. After meeting in Prague in the early 1960s, they relocated from Czechoslovakia to New York, where they later founded The Kitchen, their legendary art and performance gallery.

The opening of The Vasulka Effect couldn’t be more apt: Steina Vasulka addresses her husband Woody through various TV screens. He does the same and replies. A perfect image of the relationship between the free-spirited, groundbreaking pioneers of video art. After meeting in Prague in the early 1960s, they relocated from Czechoslovakia to New York, where they later founded The Kitchen, their legendary art and performance gallery.

Gays and lesbians lived in silence and fear in Iceland for the better part of the 20th century. Local songwriter and actor Hordur Torfason was the first to come out publicly in an interview in 1975 which caused an uproar in Iceland. This interview marks the beginning of the struggle for civil rights for gays and lesbians. People Like That – first part chronicles this struggle, stories of people who took on the current system of oppression in the hope of creating a fair society in which they could flourish.

When politics and the power structure fail to embrace equal rights in the 1980s, women take matter into their own hands and permanently change how things are done, and the face of Icelandic society as a whole.

When politics and the power structure fail to embrace equal rights in the 1980s, women take matter into their own hands and permanently change how things are done, and the face of Icelandic society as a whole.

Canvas and Curtains is a documentary about the icelandic artist and scenographer, Steinthor Sigurdsson. This biography narrates Steinthors story from his childhood years in his native town Stykkisholmur, until present time. Steinthor recently celebrated his 80th birthday and has in the past few years continued his work as exhibition planner and designer. In this film we follow his present time work, designing the Icelandic Seal Center in Hvammstangi and the Volcano Museum in Stykkisholmur. Steinthor goes to visit an old friend in Stockholm. The trip brings back memories from their school years at Stockholms art academy and in Spain in the fifties.

Canvas and Curtains is a documentary about the icelandic artist and scenographer, Steinthor Sigurdsson. This biography narrates Steinthors story from his childhood years in his native town Stykkisholmur, until present time. Steinthor recently celebrated his 80th birthday and has in the past few years continued his work as exhibition planner and designer. In this film we follow his present time work, designing the Icelandic Seal Center in Hvammstangi and the Volcano Museum in Stykkisholmur. Steinthor goes to visit an old friend in Stockholm. The trip brings back memories from their school years at Stockholms art academy and in Spain in the fifties.

Nanna is a single mother in Reykjavík who lives with her twenty something son Gudni Geir. She is not in awe of any of his various girlfriends and seems determined to ruin all his relationships. When Gudni comes out to her, their relationship changes drastically.

Nanna is a single mother in Reykjavík who lives with her twenty something son Gudni Geir. She is not in awe of any of his various girlfriends and seems determined to ruin all his relationships. When Gudni comes out to her, their relationship changes drastically.

Ragnar Bjarnasson career spans 60 years. Now at 75 he is ready to examine his career and allow us access to the idol Ragnar Bjarnason who is much loved by all ages. The camera follows him during a grand performance in honor of his seventy fifth birthday and gives us a glimpse of the pendulous chances of his life and career as a singer and performer.

Ragnar Bjarnasson career spans 60 years. Now at 75 he is ready to examine his career and allow us access to the idol Ragnar Bjarnason who is much loved by all ages. The camera follows him during a grand performance in honor of his seventy fifth birthday and gives us a glimpse of the pendulous chances of his life and career as a singer and performer.

The Icelandic national women's football team has the chance to qualify for the European Championship Finals for the first time in history. To make the dream come true the team has to win all their upcoming matches - against much bigger nations.

The Icelandic national women's football team has the chance to qualify for the European Championship Finals for the first time in history. To make the dream come true the team has to win all their upcoming matches - against much bigger nations.

Documentary about an unusual beauty contest in the desolate area of Iceland’s West Fjords where wrinkles and cellulite are a plus.

Documentary about an unusual beauty contest in the desolate area of Iceland’s West Fjords where wrinkles and cellulite are a plus.

Documentary about an unusual beauty contest in the desolate area of Iceland’s West Fjords where wrinkles and cellulite are a plus.

Nine Icelandic gay teens tell us about their lives in their frozen corner of the world. Feeling excluded, experimenting with drugs and sex, finding others like themselves, self hatred, thoughts of suicide, coming out to parents. These honest interviews show us that no matter where they are in the world many aspects of being gay are universal.

유전공학자 로제타는 비밀리에 자신의 DNA를 컴퓨터에 다운로드해서 루비, 올리브, 마린이라고 이름 붙인 세 명의 복제인간을 만들어낸다. 로제타를 똑 닮은 이들 사이버-인간은 Y 염색체가 없으면 생명을 유지하기 힘들고, 이 때문에 루비는 밤마다 현실 세계로 외출하여 남자의 정자를 수집한다. 이 과정에서 루비와 성관계를 맺은 남자들은 성 불능이 되고, 사건이 일파만파로 확대되자 FBI에서는 대대적인 수사에 돌입한다. 파시즘적 민족주의와 국가발전주의 안에서 착취되어 온 여성의 몸에 대한 논의는 새로운 것이 아니지만, 최근 몇 년 황우석의 줄기세포 연구와 관계된 일련의 사건들을 지나오면서 이 문제는 남성화된 과학기술 및 의료산업의 문제와 맞물려 더욱 복잡한 화두로 대두되고 있다. 오랜 세월 여성주의 예술가로 여성과 기술에 대한 작업을 해 온 린 허쉬만 리슨의 는 과학기술을 거대 담론의 영역에서 건져낸다. 그리고 단성생식과 사랑으로 이루어진 연대체에 대한 여성의 은밀한 상상을 재현하면서 기술권력을 탈남성화시킨다. 테크노-유토피아의 관점으로 과학기술이 사랑과 소통의 장이 될 수 있다는 감독의 상상은 말랑말랑하지만, 기술이 곧 폭력으로 연결되거나 인간의 정체성을 찾는데 다른 존재를 활용하는 등의 고루한 SF 재현 방식을 피해간다는 점에서 매력적이다. 사이버펑크가 주류 감성이 되어버린 21세기에 인디 감수성을 즐길 수 있는 저예산 SF 블랙코미디이며, 틸다 스윈튼의 1인 4역이 관객을 사로잡는다. (서울국제여성영화제)

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An oppressed office worker is whisked away to a dynamic club scene by a strapping bike messenger.

An older couple, Sigga and Runni, reveal funeral photos of their long-dead son who died tragically young. After thirty years, the photos still elicit painful differences between a grieving mother and her stoic husband; Rúna a housewife living in the harsh and isolated west fjords keeps funeral photos of a terrible family tragedy. For Rúna, they mark a profound event which forever changed her and which belong side by side with photos of weddings, confirmations and baptisms; Erlendur and his stepdaughter Úlfhildur, after nursing his wife through a long battle with cancer, use photography to record her on her deathbed, in peace at last. And Sigrún, morbidly fascinated with funerals and wakes, compulsively videotapes acquaintances' family funerals as a bulwark against her own fear of death. When she experiences death first hand however, her attitudes change.

An older couple, Sigga and Runni, reveal funeral photos of their long-dead son who died tragically young. After thirty years, the photos still elicit painful differences between a grieving mother and her stoic husband; Rúna a housewife living in the harsh and isolated west fjords keeps funeral photos of a terrible family tragedy. For Rúna, they mark a profound event which forever changed her and which belong side by side with photos of weddings, confirmations and baptisms; Erlendur and his stepdaughter Úlfhildur, after nursing his wife through a long battle with cancer, use photography to record her on her deathbed, in peace at last. And Sigrún, morbidly fascinated with funerals and wakes, compulsively videotapes acquaintances' family funerals as a bulwark against her own fear of death. When she experiences death first hand however, her attitudes change.

An older couple, Sigga and Runni, reveal funeral photos of their long-dead son who died tragically young. After thirty years, the photos still elicit painful differences between a grieving mother and her stoic husband; Rúna a housewife living in the harsh and isolated west fjords keeps funeral photos of a terrible family tragedy. For Rúna, they mark a profound event which forever changed her and which belong side by side with photos of weddings, confirmations and baptisms; Erlendur and his stepdaughter Úlfhildur, after nursing his wife through a long battle with cancer, use photography to record her on her deathbed, in peace at last. And Sigrún, morbidly fascinated with funerals and wakes, compulsively videotapes acquaintances' family funerals as a bulwark against her own fear of death. When she experiences death first hand however, her attitudes change.

An older couple, Sigga and Runni, reveal funeral photos of their long-dead son who died tragically young. After thirty years, the photos still elicit painful differences between a grieving mother and her stoic husband; Rúna a housewife living in the harsh and isolated west fjords keeps funeral photos of a terrible family tragedy. For Rúna, they mark a profound event which forever changed her and which belong side by side with photos of weddings, confirmations and baptisms; Erlendur and his stepdaughter Úlfhildur, after nursing his wife through a long battle with cancer, use photography to record her on her deathbed, in peace at last. And Sigrún, morbidly fascinated with funerals and wakes, compulsively videotapes acquaintances' family funerals as a bulwark against her own fear of death. When she experiences death first hand however, her attitudes change.

An older couple, Sigga and Runni, reveal funeral photos of their long-dead son who died tragically young. After thirty years, the photos still elicit painful differences between a grieving mother and her stoic husband; Rúna a housewife living in the harsh and isolated west fjords keeps funeral photos of a terrible family tragedy. For Rúna, they mark a profound event which forever changed her and which belong side by side with photos of weddings, confirmations and baptisms; Erlendur and his stepdaughter Úlfhildur, after nursing his wife through a long battle with cancer, use photography to record her on her deathbed, in peace at last. And Sigrún, morbidly fascinated with funerals and wakes, compulsively videotapes acquaintances' family funerals as a bulwark against her own fear of death. When she experiences death first hand however, her attitudes change.

Marc Huestis edits interviews with 15 men, including himself, around a set of topics starting with "what is sex?" The men are gay, living in or near San Francisco. They talk about their first sexual experiences, the gay scene in San Francisco in the late 1970s, the pall cast by AIDS, the safe-sex movement, getting into serious relationships, the illness and death of partners, pornography, S/M and pain, race and stereotypes, personal fantasies, and bliss. Huestis has a thesis, that sex is going to be with us, so how best do we embrace it? His 15 subjects, archival footage, clips from porn films, and close-up looks at men loving men flesh out various answers.