Films Directed by Women

少女玛丽·阿德勒（凯特琳·德弗饰演）报警说自己在家中被一名闯入者强奸，但调查人 员以及她身边的人都怀疑这件事的真实性。与此同时，在数百里外，侦探格雷丝·拉斯马森 和卡伦·杜瓦尔（分别由艾美奖获得者托妮·科莱特和梅里特·韦弗饰演）在调查两起非常 相似的强奸案时相遇，她们合力追捕这名潜藏的连环强奸犯。
《难以置信》改编自 The Marshall Project 和 ProPublica 出版的普利策奖获奖文章《令人难以置信的强奸事件（An Unbelievable Story of Rape）》（作者是 T·克里斯琴·米勒和肯·阿姆斯特朗），以及美国生活（This American Life）广播剧集《Anatomy of Doubt》。本剧由荣获奥斯卡提名的苏珊娜·格兰特 和丽莎·查罗登科执导，讲述了难以言表的创伤、坚定的决心和惊人的适应能力。
本剧集由 CBS Television Studios 打造，剧集主管苏珊娜·格兰特与萨拉·缇波曼、卡尔 ·比沃利、丽莎·查罗登科、阿耶莱·沃尔德曼、迈克尔·夏邦、凯蒂·柯丽克、理查德· 托弗尔、尼尔·巴尔斯基、罗宾·斯米、玛丽共同担任监制。

An island that is impossible to leave for those who are born there. A man is kidnapped, brought to the island and filmed. Kidnapper Emerson is a young island-born man who has a passionate wish to make a film. He envisions a film about his own life, but needs help with this. His radical solution to get the film made leads to a film about both him and his hostage, re-enacting their lives before the camera, while allowing poetic licence.
When real life increasingly shapes the narrative of the film, things get out of hand, including the film itself. Island is a frame narrative with many layers and references. Partly thanks to the convincing lead cast, the blurring of the lines between (their) fiction and reality is transferred to our notions of cinematic reality. Evolving from a playful game with cinema to an allegoric tale of Brazil’s untold stories.

Five friends drink beer and chat at Violeta's house. Bit by bit, their stories of love, loss and suffering are told, revealing the acts of love and friendship that helped them through the hardest times of their lives.

Sonya is an old maid stuck in a town that long ceased to recognize her existence but only until one fateful morning when a mysterious corpse arrives at the footsteps of their family owned funeral shop. Bringing forth strange luck and fortune, Sonya instantly gets drawn to the corpse’s mystique, reinvigorating not only her life but also that of her father Mang Rudy. But luck would eventually dry up, provoking further distress back to Sonya’s life. She faces the reality that her existence is nothing more that of the corpse, at the tail end of its mortality staring life wither away..

在煩囂混沌都市中穿梭的我們，哪裡可以寄存那蠢蠢欲動的慾望？喪偶多年的寡佬老闆，單純膽小的青頭仔，魁梧陰沉的毒販，花心貪玩的小鮮肉，四個失落的靈魂，錯落在城市不同的角落，尋愛，尋歡，尋慰藉，尋依靠。尋尋覓覓，沉沉寂寂，他們追求的那個她到底是虛幻還是真實存在？

安娜是个渴望激情的女孩，突然间发现生活中出现了另一个和自己长的一模一样的女孩……

曼迪（Mandy）是一位母亲，作家和空想家。 曼迪（Mandy）是处于危机中的现代女性。 她在女性革命中抚养一个儿子，挖掘父母离异的痛苦，并通过专业写作不再存在的爱情，她陷入了一个陷入困境的男人皮特的行列中，他正在寻求一种价值感，归属感和“ 恢复'男性身份。

1957年至1964年间，波兰诗人佐菲亚·波丹诺维奇·佐娃给波兰作家J·泽夫·维特林写了25封信。他们都流亡到北美。这些信件是哈佛大学霍顿图书馆馆藏的一部分，电话号码是Slavic 7。一个女人来这里检查信件，几天的铅笔，皱折的纸和褪色的信封，晚上在酒吧，和一个不在镜头前的人说话，试图表达工作给她带来的感觉。只有在加拿大的场景中，在另两位波兰移民的周年庆典上，我们才知道她是谁，诗人的曾孙女，她的遗产的执行人，这一角色导致了她与姑妈之间的紧张关系。但是，其他的紧张关系，如果不是普遍存在的话，就像两个人之间被历史、信的内容、信的物质形式、过程和心理所分开的那种紧张关系。Zofia的文字在屏幕上闪现，如字幕、笔迹、印刷品、阅览室、投影仪、酒店房间，他们的情感渗透到朴素的空间中，与沉默和风琴音乐一样融合在一起，仍然是什么和不再是什么的忧郁，档案馆的忧郁。
Between 1957 and 1964, Polish poet Zofia Bohdanowiczowa wrote 25 letters to Polish author Józef Wittlin. Both were in exile in North America. The correspondence is part of the Houghton Library holdings at Harvard University, call number MS Slavic 7. A woman has come there to examine the letters, days of pencils, creased paper and faded envelopes, nights at the bar, speaking to someone off-camera, trying to articulate how the work makes her feel. It’s only in the scenes in Canada, at the anniversary celebration for another couple of Polish immigrants, that we even learn who she is, the great-granddaughter of the poet, the literary executor of her estate, a role which causes tensions with her aunt. But other tensions are just as, if not more pervasive, like those between two people separated by history, the content of a letter and its material form, process and psychology. Zofia’s words flash up on screen, as subtitles, as handwriting, as print, in the reading room, on the projector, in the hotel room, and their sentiments seep into the unadorned spaces, merging with silence and organ music alike, the melancholy of what still is and what is no longer, the melancholy of the archive.

爱丽丝（Emilie Piponnier 饰）拥有着人人羡慕的生活，和丈夫感情稳定恩爱有加，孩子可爱乖巧常伴膝下。某日，她像往常一样刷卡购物消费之时，竟然被告知信用卡因为欠费而被锁定了。直到此时，爱丽丝才发现自己的美丽人生梦在很久之前就破灭了，丈夫不仅将他们的积蓄挥霍一空，而且还是花在了应召女郎的身上。这个男人选择了抛妻弃子，还顺手卷走了曾经充斥着一家人欢声笑语的公寓。霎时间，爱丽丝失去了所有，面临流落街头的窘境。
追寻着丈夫留下的线索，爱丽丝来到了夜总会，想看一看究竟是怎样的女人害得自己落得现在这般下场，哪知道，在夜总会里，爱丽丝竟然发现了生活的新希望，她竟然顺势也成为了坐镇其中的应召女郎。

这是前往地狱般的精神病院的旅程。中学生neto在他的爸爸发现他的口袋中有毒品后将他送往精神病院进行治疗，从此，neto的恶梦开始了。这个小小的大麻烟是造成家庭悲剧的一个导火索。在疯人院中neto逐渐发现这里简直就是一个地狱，残忍没有人道，然而，当他的父亲来探监时，确认为neto真的得了病而没有治好，拒绝将他带回家。此后磨难接踵而至。一个花季少男就被亲生父的严厉而导致精神彻底崩溃 记录片性质的语言给这部影片以极强的感染和冲击力。neto在疯人院被催化成熟，改变者父子之间的关系。
这部影片在当年获得巴西利亚电影节7项大奖，哥伦比亚Cartagena Film Festival3项大奖，巴西影片大奖7项大奖，瑞士locarno国际电影节2项大奖等九次电影节获奖。
影片主演是巴西第一帅哥Rodrigo Santoro ，长得象基奴.里维斯。主演太阳背后等，《霹雳娇娃2》中手持划板的帅哥就是他.

罗莎在她的晚期。她的父母离婚了。她与自己的家人住在圣保罗市中心的一套公寓里。她的丈夫在研究旅行中离开的时间并不完全清楚，所以她应该支持和关心他们的两个女儿。她没有专注于扮演剧作家的角色，而是有义务为一家浴室陶瓷公司赢得生活。在她的关系中应对性冲突，处理她的各种委员会的问题，但也有义务倾向于她脆弱的父亲的贫困人格，这对罗莎来说都是一个越来越大的挑战。当罗莎的母亲有一天向她做出惊人的披露时，罗莎决定摆脱她惯常的义务。通过这样做，她发现生活中有许多惊喜。 LaísBodanzky令人印象深刻的自然景观描绘了生活在巴西最大城市的三个生活。这些是生活在个人激情和生活谎言之间的生活。在lm的核心是一个女人的肖像被一个女人的永久性要求所吞没，她决定找出她到底是谁。

剧情简介：《世界上最好的东西》集合了校园八卦，学生运动，家庭伦理，同志权益等多种元素。15岁的Mano是个无忧无虑的小伙子，他还是个处男，也一直暗恋着学校里的美女Valéria。Mano17岁的哥哥Pedro也是个才华横溢的小诗人，和女友Bia有着稳定的恋情。一天他们的父亲Horácio向他们出柜了，他决定离开这个家并和他自己辅导的一个学生共度余生。这个宁静的家庭从此变得支离破碎。Mano和哥哥被这个消息重重的打击了，不知所措的同时，这个消息也在学校传开了。兄弟二人受到了各种歧视，痛苦不堪。另一方面Mano最好的朋友Carol一直暗恋他们的物理老师Artur，一天Carol吻了自己的老师，这个秘密也被八卦的同学在学校迅速传开。Carol责备Mano泄露了自己的秘密。学校和家庭的种种麻烦困扰着小小的Mano，他又该怎样面对这样的生活？而对于Mano，世界上最好的东西又是什么呢？

故事发生在圣保罗的一家复古舞厅的夜晚，形形色色的人群在这里邂逅，调情，争吵，拥舞。伴随着音乐起舞的除了他们的身体，还有已经流逝的过去，五光十色的当下，以及不可知的未来。
In an old-time dance hall (the "gafieira") in Sao Paulo, one evening is all it takes to meet different characters as they remember the past, live the present, wonder about the future, have fun, flirt, fight and, naturally, dance.
Lais Bodanzky's second feature -- 7 years after her critical and box-office success "Bicho de Sete Cabecas" -- is a character study comedy influenced by Ettore Scola's and Robert Altman's ensemble pieces, especially Scola's "Le Bal" (1983) in its integration of music, dance and emotion, and "La Cena" (1998) as it also takes place in one single evening. Contrary to "Le Bal", though, what really matters here is the dialog, the faces and the characters; this is NOT a film about choreography or dancing skills.

Laís Bodanzky and Luiz Bolognesi travel around the small cities of Brazil, exhibiting short films in public squares. From the south of Bahia to the farthest parts of Amazon, this documentary discovers a country that watches a movie and sees itself on the screen for the very first time, in the turning of the 21st century. What’s seen and heard is truly surprising.

At bottom is a tale of exploring the imagination of a writer, plus a tale of exploring the city of Beirut. The film deals with the initiation to love and the female soul.

因感知不到自身慾望，杜妮亞在學習詩歌與舞蹈的過程中不斷受挫。後來遇到人生導師巴席爾，開啟了一段透過詩歌、音樂、舞蹈探尋狂喜經驗的冒險歷程。靈感取自於埃及禁書《一千零一夜》，以愛情故事之原型，強調自我賦權及女性情慾探索，並批判父權社會中的既有框架與束縛，乃導演所創作的劇情片類型中，最具女性主義意識的作品。

Two young girls of the war generation, Yasmin and Leila, are in search of Beirut. When they meet an elderly film enthusiast with a secret store of Lebanese films, they persuade him to screen his collection for them. So begins an initiation into the myths and images of Beirut, but the girls want cold figures and facts, war babies indifferent to the memories evoked.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

This film from the heart of the desert shows the conflict between the Algerians and the Moroccans at El Aioun, and the Saharan resistance of the Polisario Front. A never ending story which is still one of the reasons for the conflict between Algeria and Morocco.