Films Directed by Women

夏日的皇家训练营即将开始了，侯特妮公主来到了集中点。可是，即使到了开船时间，侯特妮依然没有听到自己的名字，这究竟是怎么了？这时，侯特妮突然听到了自己的名字，不过却是摇滚训练营……

这是历史上最令人震惊争议最大的几部电影之一，来自于俄罗斯。如果你看过“粉红色的火烈鸟”，如果你看过“食人”，那么你对这部影片应该有个大致的轮廓了，因为这就像是二者的合版。首先介绍一下剧情，此部影片长约87分钟，主要讲述了两名低级的士官在一间狭小的房间里对话，而所给人展示的即是精神与道德的沦丧，最终演变成一场血腥的屠杀。此片口味极重，包含类似于裸露，吃屎，奸尸，拉肠子等片段，如果你承受能力可以，不妨来试一试。

不敢相信俄罗斯女导演也能拍这样的片子，极度女权主义者，对男人的憎恨和侮辱简直不亚于当年那部《FUCK ME！》，而这还是她的处女作，想必她一定有一个不堪回首的童年。。。:(

A film about the backstage life of an ordinary Moscow bar, where relationships between the owner, the racketeer and the employees are pretty reminiscent of the ones in a family. However, unlike a family, they are connected by a mutual cause, the role in which are far from equal. Submission and humiliation weave through the characters' entire lives.

The workers fight for their rights creating independent union. They know that it is the only way to struggle against the owners of the plant.

The Soviet Russia of old is an immobile head without a body that appears in various locations, clashing with the morals and sentiments of a modern rich man. This man seeks advise from the head but finds that it is annoyingly unresponsive or unhelpful as it sends him on various missions and tests. At times he uses violence or oral rape to get what he wants until he grows too exasperated. Most of the movie consists of improvised dialogue or rants, and meandering scenes in a weapons shop, a railway, and a meeting where the man performs a bizarre magic performance with chickens, eggs and a cardboard box..

The film is about the complicated and even paradoxical relationships in the world of academic music. The character of Aleksandr Maslaev represents the Maestro, a kind of modern Mozart, wallowing in corruption, plagiarism, and envy. Once a talented composer, he's totally lost his gift and cynically buys new music from young composers, then plays it under his own name. Yet, the Maestro does not close this chain, for everyone pays his debts...

A young girl, the daughter of a lesbian couple, lies peacefully abed listening to one of her mothers reading her a bedtime story. The off-beat tale she hears is set in medieval times and chronicles the exploits of poor Lady Eleanor, an independent, free-spirited young aristocrat who would much rather spend her time riding and being outdoors than staying cloistered inside tending to needlework. Still she is a dutiful daughter and reluctantly abides by her late father's wish that she marry Lord William. William knows that he is not her dream lover, but he is patient and eventually she gets pregnant. Eleanor is terrified, for her mother lost her life and the life of her baby giving birth. Not wanting to suffer the same fate, she sneakily tries to engage the local midwife to come and abort the fetus. Unfortunately, the midwife has been accused of sorcery by the local priests and has been sentenced to die. Fortunately, young Gwenyth, a new midwife shows up.

这是一部性感的拉拉喜剧。劳拉是个很有天赋的摄影师但是对什么事都心不在焉，她只要能赶上一个重要的会议，她的爱情事业都会成功。但是跟往常一样她又迟到了，她有3次机会弥补，在旧金山街头绝望的跑着的劳拉能赶上吗？

Dr. Abraham Van Helsing is granted immortality by the Catholic Church until he can hunt down the last vampire prince.

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不用介绍了

A tough nun (Anna Massey) demands belief and obedience from convent schoolgirls (Katrin Cartlidge, Oona Kirsch) in World War II England.

12 歲的羅蘋就要進入青春期，偏偏她有個雖然愛她卻迷糊又不負責任的年輕媽媽。沒想到搬家轉校到新學校的第一天，初經意外報到染紅了白色牛仔褲，讓她在同學的面前出了大糗。人際關係和生理上的大麻煩，也讓母女兩人的關係面臨大挑戰。還沒準備好的羅蘋只想問，長大怎麼會這麼難？

片名“Encarnación”来自于西班牙语的单词“carne（肉；体现在成为可食用的肉类）”，而在西班牙语中超越其宗教意义（“主”作为提供给人们精神食粮的肉身）的一层涵义则是，这个词用来意化演员的工作：演员扮演一个虚构的人物，赋予其生命去喂养观众的“心”。

赖以为生的公寓被抄，朋友被拘留，带着一岁幼子的性工作者艾拉妮丝只得暂住经营服饰店的亲戚家。卖身，是她为自己和儿子争取生存空间的技能。一心想救出朋友、保护儿子的她，能否在放浪不羁、危机四伏的布宜诺斯艾利斯，找到自己的尊严与归属？来自社会大众的羞辱眼光、随时随地被捕入狱的风 险、性交易过程中遭遇到的危险与暴力，导演以不带批判角度的线性叙事，呈现一位女性性工作者可能面临的各种艰难处境。即使在残酷的都市丛林中，艾拉妮丝依然温柔而坚强地迎战一切。

1996年4月26日，故事开始的时间。很少有作品能够发表的诗人、作家、30岁的同性恋男子、艾滋患者巴布罗（Juan Minujín 饰）在日记上记录下这一天他撰写的两则广告：因经济拮据，巴布罗与自己的姑妈同住，担任家教成为他有限的收入来源之一；而另一则广告，则是为了寻找爱人。频繁的往来于医院，令人反感的药物，潜伏绝症的身体……在这些的围绕之中，巴布罗没有忘记寻找爱的可能，在街边的偶遇、地下的同性虐恋俱乐部里，巴布罗似乎寻找到了慰藉自我的灵药，而更为巧合的是，他在俱乐部撞见了那个曾有一面之缘的英俊男子——马丁。两人的一段联系，自此开始……
本片获2005年柏林电影节泰迪熊奖等多项专业褒奖。

2014 film

Are we what others see, or are we what we allow others to see? Most likely it is the view of others which delimits our own identity, as a young divorced mother named Julieta convinces herself. This evening is like any other: her two young sons are roughhousing in their cramped apartment. They whoop and shout while their mother makes desperately futile attempts at the computer to concentrate on writing a report for work. Feeling intense pressure, Julieta tries to quiet the conflict but finds it difficult without a partner to help. The tense situation changes unexpectedly when her two-year-old falls and hurts himself. In this story of a mother suspected of hurting her own child, the movie investigates themes of motherhood, guilt, duty, the role of men and women, fathers and mothers

Evangeline (Kat de Lieva) has left her sheltered upbringing to reinvent herself in college. As she begins to break out of her shell, she attracts the attention of a sociopathic fraternity leader (Richard Harmon) and his two cohorts. “Beaten and left for dead, Evangeline finds herself trapped in a supernatural nightmare, where she is caught between salvation and vengeance. But to save herself, Evangeline discovers she must make the most horrifying choice of all…

七位女导演的恐怖故事拼盘。