Films Directed by Women

In observing a solitary classmate, a student begins to suspect that the loner has the ability to write words that will kill those who read them.

2013年2月，住在伦敦的法国时装专业学生安娜伊斯·波迪耶偶然在YouTube上发现了一段视频，主角是洛杉矶的演员萨曼莎·富特曼，两人惊人的相似令她震惊。在发现她们同生于韩国釜山、同年同月同日、且均被收养后，安娜伊斯通过Facebook联系上了萨曼莎。本片记录了萨曼莎和安娜伊斯踏入姐妹情谊的旅程，从她们的初次见面，到首次回到当初分离之地韩国的过程。

《你和我》（1971）的故事发生在当代俄罗斯，也是她唯一一部彩色片（Technicolor摄制）。讲述了两个男外科医生，深陷理想的危机，想要把个人的绝望和对更为宽大的人性、责任的期望平衡起来。（文/Nova）

In this funny and moving documentary, acclaimed film-maker Daisy Asquith tells the very personal story of her mother's conception after a dance in the 1940s on the remote west coast of Ireland. By exploring the repercussions of this act, Daisy and her mother embark on a fascinating and emotional adventure in social and sexual morality. Her grandmother, compelled to run away to have her baby in secret, handed the child over to 'the nuns'. Daisy's mum was eventually adopted by English Catholics from Stoke-on-Trent. Her grandmother returned to Ireland and told no-one. The father remained a mystery for another 60 years, until Daisy and her mum decided it was time to find out who he was. Their attempts to find the truth make raw the fear and shame that Catholicism has wrought on the Irish psyche for centuries. It leads Daisy and her mum to connect with a brand new family living an extraordinarily different life.

《乌克兰不是妓院》是由Kitty Green执导，Inna Shevchenko等人主演的一部纪录片。于2013年9月5日在意大利上映。
影片讲述乌克兰的女性的故事。

　这是今年11.14首播的一个纪录片，讲述了35年来工业光魔公司为电影特效做出的伟大贡献。工业光魔不仅为无数的大片制作特效，也发明了视觉特效本身，它拥有世界上最有才华的电影艺术家，不断地把视觉特效推向一个更高端的水准。 　　工业光魔在这35年间，制作了300多特效电影，没有任何其他公司能够达到这个记录，甚至接近也没有！ 　　这一个小时长的纪录片中采访了George Lucas, Steven Spielberg, Ron Howard, J.J. Abrams 和 Jon Favreau, 还有演员 Samuel L. Jackson 和 Robin Williams, 制片人 Jerry Bruckheimer 和 John Lasseter, 迪士尼和皮克斯动画公司的首席创意。也采访了许多工业光魔的关键视觉特效总监，Dennis Muren, John Knoll, John Dykstra, Pablo Helman, Ben Snow 和 many more. 　　纪录片中涵盖了太多的采访，许多未公开的片段和深入的幕后（深入！），反正如果你是一个电影特效爱好者，或者是一名CG学生，艺术家，这是绝对不能错过的片子！ 　　这里附上一段工业光魔的介绍（百度百科）： 　　工业光魔公司（全称：iIndustrial light and magic，简称：ILM），由著名导演乔治·卢卡斯于1975年创立，并为第一部《星球大战》（Star Wars）影片提供视觉特效以来，工业光魔公司就已成为电影魔术的代名词。事实上，在历史上票房最高的十部影片中，有八部使用了工业光魔公司制作的视效。工业光魔公司获得了多达28项奥斯卡奖：其中14项是最佳视效奖，另外14项则是技术成就奖。在过去30多年时间里，工业光魔公司开创了许多突破性的电影特效和制作流程。

剧情：安迪·霍尔是美国波普艺术大师，他绘制的梦露画像成为“招贴派”的时代性标志。维米莉对安迪·霍尔极为推崇，久而久之，她认定对方控制了自己的思想。终于，维米莉闯入安迪·霍尔的办公室，开枪将他射伤……
影片表达了一次对男权社会最前卫观念的冲击与反抗、毁灭与自毁，塑造了一个女权主义人物，从个人经历出发，表现了对体制的愤怒与反叛情绪。实际上，由于身份与历史因素，女性内涵一直局限于男权制的社会倾向之中。这种主体的压抑与生命价值的缺乏状态，难免促使女性神经质的颠覆意识产生，她们通过人性的自我裸露来否定性别美学与男权世界，充满了分裂的快感与毁灭的欲望，但背后又都透露出对拯救的渴望。

film directed by Marcela Said

After a botched surgery a rookie doctor takes a job in a meteorological station in the Arctic Circle.

故事发生在2008年，美国科学家从位于印度的丛林深处带回了一只巨大的雌性眼镜蛇，令科学家没有想到的是，这条眼镜蛇竟然化作了一位性感妖娆的美女（玛丽卡·沙拉瓦特 Mallika Sherawat 饰）。原来，这位美女就是印度神话传说中的蛇女神，她因阴险毒辣以人类为食而遭到了人类的敬畏和恐惧。如今，蛇女神再度出世，究竟是为了什么？

2016东京电影节影后&评委会大奖获奖影片。讲述一名生活在北欧北部的萨米族小女孩艾拉玛雅的成长故事。
萨米人，亦称拉普人，是生活在北欧北部的一个游牧民族。萨米人拥有自己的的语言(萨米语)及独特的民族音乐（Joik）及传统服饰等等，以饲养驯鹿为生。有相当长一段时间，瑞典挪威等国以强制其接受教育等方式试图同化萨米人，官方甚至禁止在学校和公共场合使用萨米语。（即本片背景）

A first film as producer/director for the celebrated actress Sachiko Hidari, who plays a leading role herself and can also be seen in Double Suicide at Sonezaki in this year's Festival. Ms. Hidari was born in 1930, and worked as a teacher of music and gymnastics before signing with the independent Sogo Geijutsu company as an actress in 1952. Her first significant appearances were in two of Heinosuke Gosho's 1954 films. An Inn at Osaka and the The Cock Crows Again, and she has subsequently played the female lead in such films as Tomotaka Tosaka's The Maid's Kid, Sosumu Hani's She and He and Imamura's The Insect Woman. She founded her own production company to co-produce The Far Road with the Japanese National Railway Workers' Union with whom she shared a wish to bring to the screen for the first time something of the lives and problems of blue-collar workers in the Japanese Railways. The resulting film is large in ambition and scale; it was two years in production, and finally cost some 120 million yen.
The film begins on Railroad Day (14 October) 1975, with railway employee Ichizo Takinoue travelling to Sapporo with his wife Satoko to receive to Sapporo with his wife Satoko to receive his award for 30 years' service - a wristwatch. That evening, Ichizo's suppressed tensions and resentments come to the surface when for no rational reason he violently opposes his daughter Yuki's proposed marriage. Satoko (played by Ms.Hidari) thinks ruefully back to the day she married Ichizo and reflects on the changes that both they and the Japan National Railway have been through.
Through a series of flashbacks, the film identifes the crucial year of transition. In the early 60's, when the family had two young children and Satoko went out to work as well as Ichizo, the first wave of modernisation hit the railways: job security was threatened and Ichizo twice failed his promotion exams. By 1966, the introduction of new technology was resulting in lay-offs: Satoko, feeling that she should not have to work simply to earn enough for the family to live on, urged Ichizo to join the Union and support its fight or job security and better wages. In 1970, the Marusei (production improvement movement) took off, and a second Railway Workers' UNion was founded, this one secretly guided by the JNR management. Factionalism set in, and old friends found themselves divided.....Back in the present, Ichizo takes stock of his situation and realises that he has been taking out his feelings of uncertainty and impotence on his family. He gives his blessing to his daughter's marriage, and he and Satoko travel with their daughter and son-in-law to Nagasaki. The young couple inspire the old couple to reassess the 'far road' ahead of them.
(Tony Rayns 3rdHKIFF)

The final installment in Ulrike Ottinger’s Berlin Trilogy (following TICKET OF NO RETURN and FREAK ORLANDO) casts Delphine Seyrig as the nefarious Fritz Lang supervillain Dr. Mabuse, here the head of a powerful media empire that seeks to create headlines by manufacturing (and then publicly destroying) its own celebrity: the wealthy, handsome playboy Dorian Gray.

A widow retreats to a remote cottage to recover from a suicide attempt, only to discover the place is haunted.

In August 1954, Alcide De Gasperi, now at the end of his personal and political career, left the Christian Democrats' headquarters in Rome and visited his daughter, Lucia, a nun. He revealed to her that he had definitively retired from active politics and was leaving for Sella for a period of rest, necessary for his precarious health. Upon arriving in Sella, where he was reunited with his family, the statesman and his grandson Giorgio went for a walk in the mountains, and there, prompted by the boy's questions, he began to recount his life story, an often painful journey down memory lane.

A mother with an affection to air-refreshers, a daughter looking down on her mothers job.

2015 film by Claudia von Alemann

导演Torun Lian以细致敏锐的写实手法和灵活的运镜描绘出一位小女孩悲伤失落的复杂情感，让全片充满甜中带涩的深思。片首以「童画」带出片名及演职员表，极富缤纷多彩童趣般的创意，两位挑大梁的非演员Thea Sofie Rusten（Marie）与Jan Tore Kristoffersen（Jacob）更以生活化的演技精准地诠释出孩童天真易感的心思。此外，片中几个播放家庭录影带的情节，除了呈现影像与真实的辩证，仿佛也间接宣示着「电影不死」的Dogma精神。本片没有一般同颣型电影的矫揉造作，取而代之的真挚情感强化了清新健康的风貌。 Torun Lian以镜头成功地挥洒出一幅色彩鲜明的挪威风情画。

19岁的巴基斯坦少女躺在医院手术室里，她刚从鬼门关爬回来。身上伤痕累累，子弹擦过脸颊，伤口从嘴角一直延伸到耳边。连见多识广的医生都说“这种情况实在是让人无法淡定”，更让人无法淡定的是，对这位少女做下这件事的，正是她的父亲和伯父，她刚从“名誉杀人”中死里逃生。

片长：125 min