1969 film by Cecilia Bartolomé

2019 film directed by Alexander Voulgaris

In the end, one is dead and the others are alone, although the truth is that they were already alone long before his death. Now all of this is gone and there is no point in looking back.

Ayi a 50 ans. Elle vient d’une province rurale de la Chine et n’a pas le permis de résident qui lui permettrait de travailler légalement à Shanghai. Pourtant, ça fait 20 ans qu’elle cuisine dans la rue. Ayi et les femmes qui l’entourent bataillent pour gagner leur vie et éviter la police. Le film nous dévoile le chaos d’une cité ultra-moderne qui œuvre à l’extinction de pratiques jugées insalubres et à l’expulsion d’une population non désirée.

Lesbians from all walks of life discuss their experiences and views on a variety of subjects pertaining both to their own sexuality and to their relationships within society at large.

一只断手在巴黎的一间实验室里逃脱了不幸的命运，动身重新和身体连接在一起。在一次令人毛骨悚然的穿越城市冒险之旅中，断手与鸽子和老鼠等诸多阻碍做斗争，只为与披萨男孩劳伍菲尔重聚。断手对劳伍菲尔的回忆以及他对图书管理员加布丽尔的爱可能会让我们了解导致断手与身体的分离的原因，并为他们三人可能的重逢提供了诗意的背景。本片改编自获奥斯卡金像奖提名的纪尧姆·洛朗（《天使爱美丽》）的小说《Happy Hand》。

在卡萨布兰卡港口的街道和受欢迎的酒吧周围，一群电影制片人与人们讨论他们对新兴的摩洛哥国家电影院的期望和期望。当一个心怀不满的工人意外杀死他的上司时，他们的审讯转移了注意力，并开始调查谋杀的背景和动机。《德奎克》的核心是对电影（和艺术）在社会、纪录片和现实中的作用的审问，以及对即将诞生的国家电影的紧迫性的构成。这一独特的电影体验被认为是在摩洛哥对言论自由的高度镇压之时，激进的电影制片人、演员、音乐家、诗人和记者的独立和集体努力，并由几位当代画家的画作销售提供资金。这部电影于1975年首次在巴黎放映，但立即受到审查，禁止展览和出口。直到2016年在Filmoteca de Catalunya的档案中发现了一张底片，并将其复原，人们才将其遗忘。影片完成45年后，将最终上映。
Around the port’s streets and popular bars of Casablanca, a group of filmmakers conduct discussions with people about their expectations of, and aspirations for, the emerging Moroccan national cinema. When a disgruntled worker kills his superior accidentally, their inquest shifts focus, and they begin to probe the context and motives of the killing. At the heart of De quelques événements sans signification is an interrogation on the role of cinema (and art) in society, documentary and the Real, and what constitutes an urgency for a national cinema that is being born. This unique filmic experience was conceived as an independent and collective effort of militant filmmakers, actors, musicians, poets and journalists at a time of heightened repression on freedom of expression in Morocco and was funded by the sale of paintings by several contemporary painters. The film was first screened in Paris in 1975 but was immediately taxed with censorship and forbidden from exhibition and export. It was forgotten until a negative print was found in the archives of the Filmoteca de Catalunya in 2016 and restored there. 45 years after its completion, the film will finally be released.

影片由三个部分组成：
第一部分，在空空的公寓中，一个女人在一个多月的时间里把房子粉刷了两遍，不停地移动着家具，一遍遍地给她的情人写信，并把信的内容像日记一样读了出来；
第二部分，女人拦了一辆卡车，她和卡车司机在一个酒吧前停了下来，俩人进去，司机边喝啤酒边和她谈论自己的老婆、孩子，还有自己的私生活；
第三部分，女人来到她情人的公寓，屋里的女人不让她在哪儿逗留。女人说她饿了，她的情人让她进屋，并给她饭吃，让她在这住一夜。饭后，两个女人做了爱。第二天早晨，女人离开了公寓。

More than 40 years after making "Cléo de 5 à 7," Agnès Varda invites her star, two other cast members, and her assistant directors to look back. She takes us through the film, from opening scene to the end, visiting its Paris locales, placing her aged actors in the same spots, telling stories, and listening to others' reflections on the making of the film. She and they talk about making a film on a low budget, its showing at Cannes, and trying to fix a problem in the last shot. Her assistant directors discuss casting, costumes, sets, and the ways the film changed their approaches to filmmaking. Scenes from "Cléo" are included throughout the documentary.

An insider's look at the first year of an activist group known as the Lesbian Avengers.

This inspiring film profiles the Lesbian Herstory Archives, a non-hierarchical, collectively-run archive that preserves the various expressions of lesbian identity, love, and solidarity. Scrappy and determined, a cross-generational team of women steward the collection from a cramped Manhattan apartment to a building of its own. As memory fades and members depart, the volunteer archivists contemplate the safeguarding and transmission of these invaluable materials — and the stories they document — to future generations.

就像我看过的许多法语电影一样，这部电影更关注的是展现一个相当现实的生活片段，而不是创造一个标准的故事弧。主角米歇尔花了一个小时和一些新老朋友讨论她对生活的看法，试图了解自己对自己在世界上的地位和性取向的感受。

Barbara Hammer's collage of photographs, documents, interviews, lyrical passages and dramatised scenes recalls the lives of two surrealist artists and lesbian Resistance fighters whose work and whose fate has largely been forgotten: Claude Cahun (whose real name was Lucie Schwob, 1894–1954) and her girlfriend and lover Marcel Moore (Suzanne Malherbe, 1892–1972).
Claude Cahun (writer Marcel Schwob's niece) and Marcel Moore were half-sisters. They fell in love around 1910 and were to spend their whole lives together; they are commonly regarded as the first lesbian couple to live and work together as artists. After studying in Oxford and at the Sorbonne, Claude Cahun made a name for herself as a writer and photographer in Paris. Her self-portraits in particular, wearing an array of different masks and costumes, were to make her famous, while Marcel Moore began to gain a reputation as an illustrator and draughtswoman. In 1932/33 they joined the anti-fascist artists association AEAR (Association des Ecrivains et Artistes Révolutionnaires), and in 1937 they moved to Jersey, one of the Channel Islands.
When the Germans occupied Jersey in 1940, the two girlfriends embarked upon a campaign of artistic resistance, putting up posters, writing mani-festos and pamphlets with which they hoped to incite the occupying forces to mutiny. In 1944, both women were arrested by the Gestapo and sentenced to death; the majority of their artistic output was destroyed. They were released from imprisonment after the island was liberated in May, 1945. Claude Cahun was never to recover from the experience.

叻女的生活是梦游、求爱、超凡入性的欲念、每朝睡过了头的呆相、百无聊赖、Grunge音乐；教人发噱之余，她们又处处识得自爱与自嘲。可爱可人的玛斯正急切渴求女伴，求助身旁的朋友逐一打听，找到个活地·亚伦版的女同志：她害羞、神经兮兮又吞吞吐吐──原来她有个多年的远方情人——惟是扰攘一番，两人终又走在一起。叻女钓鱼绝对没有眼泪、没有压力、没有摆明车马的「站出来」；更把「政治正确」束之高阁──女同志去找男人睡觉，为什么不可以？是 Post-PC的年头作崇，去寻开心才是最上算。叻女钓鱼，鱼获累累。@彩虹左岸
很多人看不懂这片，不过个人认为这又是一个90年代黑白同志电影经典，毕竟94年有这样的片不错。

Selva, thirteen years old, discovers that when we die we just shed our skin. We can turn into wolves, goats, shadows, or anything as long as your imagination allows it.

Arthouse comedy set in 1992-3 following awkward graduate students on vacations all around the world.

Images of Egypt: prolonged tracking shots through the streets of Cairo, cafes, bazars, hotels and gardens, footage of the desert and the sea. Ruth Beckermann is on the trail of Empress Elisabeth of Austria ("Sissi"), who travelled the world restlessly and was in Egypt incognito one hundred years earlier. Since Elisabeth refused to be photographed after the age of 31, she inspires projections and fantasies.

Anna and Edith are colleagues at an insurance company. Their male chef uses the women's business success to his own advances. Anna's husband would prefer her to be at home. Anna and Edith become a couple, but it doesn't end with a romantic rendez-vous. Together, and with the help of their female colleagues, they want to improve their work conditions.

1971年的一部美国文艺片。尽管年代久远，但是这却被称为永恒的经典，整部电影从头到尾没有一个写实的镜头，虽然电影中有大量的 体镜头，但全是在虚幻的梦境之中，大片的红色或蓝，没有故事情节，像一部音乐录影带，电影截图仿佛是象征主义的绘画作品。
影片简介：本片讲述了一群同 的精神上面的追求，他们都是一群爱自己超过爱别人的人，本片导演也是个同者，从他感同身受的角度拍摄这部影片，倡导认为男人也跟女人一样美