Films Directed by Women

Shot in three countries over a two year period, Boxers and Ballerinas explores the US-Cuba conflict through the eyes of four youths--a boxer and a ballerina in Havana and Santiago de Cuba and a boxer and a ballerina exiled in Miami.

Bride kidnapping in Kyrgyzstan

这是一部描写中国非法移民在纽约打工与生活的故事。剧中主角丁明，在电影一开始尚未起床就遭到两名黑道份子闯入家中殴打他，并命令他当天要交出偷渡 来美国的高利贷费用800美金，于是他开始了疯狂忙碌的一天。在餐厅打工的同伴甚至于为了他牺牲自己的工作时数，只为了帮助他能早日还清债务。整部片就在跟拍丁明一天工作过程下，呈现了非法移民不为人知的真实面。扮演丁明的演员：Charles Jang，是一名美籍韩裔人，他为了这部片还特别到台湾学了一年的中文，整部片以普通话贯穿全戏，抢戏的餐厅经理一角是由李云娣所扮演，而这部以导演邹时擎住所的楼下餐厅为主景的电影，在极低的预算下，拍出了让人惊艳的戏剧性与张力，是一部相当感人与必看的佳作。
我们希望在银幕上忠实呈现生活在纽约的非法中国移民所遭遇到的困境，而且很高兴这部电影能引起很多人的关心与共鸣。当然，整个拍摄的过程与完成，都是在师长及友人的帮助下才得以完成。目前各界反应是成功的，这是让我们最感到欣慰的一件事。
西恩·贝克（Sean Baker）：
出生在美国新泽西州，毕业于纽约电影学系。2000年作品【Four Letter Words】以研究美国郊区青春期少年问题为题材。2004年以3000元美金的预算与邹时擎完成获奖无数的【外卖】，目前正专心投入在描写纽约批发市场 贩卖仿冒品的西非移民电影【百老汇王子】的后制。
邹时擎（Shih-Ching Tsou）：
出生于台湾台北的她，是一名作家、制片与导演，2004年与西恩．贝克完成【外卖】后，现正筹拍新片【Left Handed Girl】中。

美国黑道大本营已转往迈阿密，罪恶的迈阿密又发生了一件惊人的案件，硬汉闯关惊破暴力杀机，风光名胜暗藏污秽的黑幕，是什么激怒了他们．．．大街即将染满血腥。

A dog who strives to become a man seeks a woman who will love him enough for the transformation to take place.

和女友分手后，一位布鲁克林的音乐家回到了她住在中西部的妈妈处。她一边在家乡游玩，一边在一个老朋友的酒吧演奏赚点小钱，一段意料之外的关系开始发生。

On the surface, Clara Barron seems to have it all: a job as an OB-GYN; a great house in LA; and a loving family. But, the one thing Clara doesn't have figured out is her love life. Pressured by a family wedding in Mexico, Clara asks a co-worker to pose as her boyfriend for the weekend festivities,- only to be caught by surprise when her ex- boyfriend (and family favorite) suddenly shows up after disappearing from her life completely. Torn, Clara must decide between going back to the past or open her heart to new and unexpected possibilities.

2014 film by Catalina Aguilar

在旁人眼中，马兰奇（鲁伯特·格林特 Rupert Grint 饰）和卢克（罗伯特·席安 Robert Sheehan 饰）是一对奇怪的组合，马兰奇生活在一个和睦温馨的家庭里，成绩优异脑袋灵光的他无疑是优秀青年的典范，而卢克除了要忍受他的酒鬼老爸外，还跟着哥哥克里斯干着一些见不得光的勾当。但是对两个少年来说，两人之间坚实而又真挚的友谊只有他们自己能够懂得。然而，一个名叫米歇尔（金伯莉·尼克松 Kimberley Nixon 饰）的漂亮姑娘出现在两人的身边事，他们16岁的夏天注定不会平凡。
在米歇尔的挑拨和鼓励下，马兰奇和卢克之间的关系变得紧张起来，为了得到米歇尔的亲睐，他们进行着一场又一场没有意义的较量。当时间流逝，较量步步升级，悲剧眼看这就要来临。

影片以上世纪七八十年代的贝尔法斯特为背景。Terri Hooley是一名激进、叛逆的音乐爱好者。当时由于北爱尔兰问题，贝尔法斯特冲突不断、民不聊生，泰瑞的朋友们都选定了立场，要么拿起武器要么抛弃自己的家乡，但是泰瑞决定在全欧洲最爆炸声不断的街区上开设一家唱片行，并且取名叫 做「美妙的振荡」。泰瑞先后签下了两支乐队Rudi和The Outkasts，但直到他发掘了Feargal Sharkey和The Undertones之后事情才真正开始有所起色。当John Peel在BBC第一电台上连着播放两遍The Undertones的《Teenage Kicks》这棵一幕发生之后，泰瑞的音乐梦想成为了现实。但泰瑞并不是一个完美的英雄，他有着极其自私的一面，影片同时还展现了他作为一名丈夫和父亲极不任负责任，但是最终，你却不能不对这个人物感到敬佩。

老戏骨克里斯托弗·沃肯、史蒂夫·库根倾力加盟爱情喜剧[你是唯一](Irreplaceable You，暂译)。古古·姆巴塔-劳(《黑镜》)与米契尔·哈思曼(《权力的游戏》)将演绎片中男女主人公从两小无猜到相伴一生的爱情童话。本片由斯蒂芬妮·莱恩(《副总统》)执导，贝丝·沃尔担任编剧。

What might be revealed in the slippery space of inviting strangers to act out and respond to 1970s feminism in 2017? YOURS IN SISTERHOOD invites strangers in communities all over the US to read aloud and respond to letters from the 1970s sent to the editor of Ms. Magazine-America's first mainstream feminist magazine. The intimate, provocative, and sometimes heartbreaking conversations with strangers that emerge from these spontaneous performances of forty-year-old letters make us think critically about the past, present, and future of feminism, providing a space of reflection that is newly urgent in the aftermath of the 2016 election.What might be revealed in the slippery space of inviting strangers to act out and respond to 1970s feminism in 2017? Between 2015 and 2017, hundreds of strangers in communities all over the US were invited to read aloud and respond to letters from the 1970s sent to the editor of Ms. Magazine-America's first mainstream feminist magazine.

Archival montage, science fiction, and an homage to '70s feminist filmmaking are woven together to form The Motherhood Archives, a lyrical essay film excavating hidden histories of childbirth in the twentieth century.

Filmmaker Irene Lusztig unearths a dark family secret in search of answers and reconciliation in her breakthrough feature documentary, "Reconstruction."

记录了联合国第四任秘书长同时也是奥地利总统库尔特·瓦尔德海姆的生平。他曾因为与纳粹交好而在世界范围内饱受争议。

It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingebo rg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus. You hear longing, accusations, doubts, expressions of intimacy and alienation, news of separations and lengthy silences. You sense their struggle for words. What these words trigger can be seen in the faces of those reading them out. It’s not only the text but also its effects that are being performed and occasionally discussed. The intensity of the relationship drama is generated via the fascinating language, the actors’ presence, and the camerawork and editing, which break up the dialogue via changing perspectives and shot sizes. Chats during cigarette breaks, in the stairwell and the canteen, lead into the present. History, which was stronger than love, never slips out of focus. (berlinale 2016)
*****
In 1948 Paul Celan, a concentration camp survivor and esteemed post-war poet, met Ingeborg Bachmann, a fellow writer whose father was a Nazi. By 1971, Celan had committed suicide, before which the erstwhile lovers met on just one more occasion. However, they had amassed almost twenty years of long-distance correspondence. Inspired by fact and fiction, where document and literature intersect in the letters, Ruth Beckermann and writing partner Ina Hartwig (a literary agent) embarked on a screenplay based on the exchanges. The result is a cross between observational documentary and essay film, with a deceptively simple approach: two actors (Plaschg and Rupp) read the letters in a recording studio. Applying a documentarian’s intuition to this setup, Beckermann keeps her camera rolling between readings and into cigarette breaks. Capturing Plaschg and Rupp’s palpable on-screen chemistry, Beckermann succeeds in evoking a contemporary ambulatory romance from the historical source material. (Jemma Desai)

Initially, there's that moment of happiness: an African-American celebrating in Harlem cheers "We're free!" as if Barack Obama's victory meant the ultimate end of slavery. AMERICAN PASSAGES is an associative journey through the United States: a disillusioned Iraq veteran, gay adoptive fathers, black judges, white party animals and a pimp at a casino table in Las Vegas. The extreme contrasts of black and white, rich and poor, winners and losers are often as surprising as the meaning of the constitutional right to the pursuit of happiness in these times of crisis. An epic panorama of America.

White-tiled rooms, neon lighting; on the walls black and white photographs documenting the atrocities committed by the german Wehrmacht on the Eastern Front in WW2. Against this background former soldiers talk about their experiences beyond the bounds of “normal” warfare. An uncompromising film on remembrance and oblivion.

Der Wiener hat so seine Eigenheiten: Oft verläßt er seine angestammten paar Dutzend Quadratmeter Stadtgebiet nur äußerst ungern, weil er dort täglich dieselben Locations (meist Kaffeehäuser) frequentiert und sich so einen Mikrokosmos aus freundschaftlichen Beziehungen und vertrauten Umgebungen schafft. Ruth Beckermann ist vielleicht so ein Fall - jedenfalls vermittelt ihr Film "Homemad(e)" diesen Eindruck.