Films Directed by Women

Berlin, 1974. Grischa and Heinrich are actors, accidentally locked in the rehearsal hall one night. He tries to seduce her; she's puts him off. Later she dumps her husband and sleeps with Heinrich, who ups the ante by suggesting they have a child. She takes him seriously by initiating a journalistic project interviewing working mothers, asking how they balance work and family, delving into their sexual histories. Heinrich sulks when she spends evenings on the project, he's childish. Should she leave him? The story plays out against the backdrop of left-wing political agitation.

A biopic by Helma Sanders-Brahm on the life of the poet and dramatist Heinrich von Kleist. The film is based upon his letters, documents and literary works. This film won the Deutscher Filmpreis in 1977 making Sanders-Brahm the first female director to win it.

故事发生在十九世纪的德国，文艺复兴和浪漫主义的狂潮席卷而来，举国上下都弥漫着激烈而又狂热的气氛。克拉拉（马蒂娜·戈黛特 Martina Gedeck 饰）就生活在这样一种充满了艺术气息的环境中。克拉拉是一名音乐艺术家，成名很早的她年仅11岁便举行了自己的独奏会。
在和舒曼（帕斯卡·格里高利 Pascal Greggory 饰）结婚后，克拉拉举家迁往了杜塞尔多夫定居，在那里，克拉拉和勃拉姆斯（马立克·兹迪 Malik Zidi 饰）相遇了。对于克拉拉来说，婚后的生活并不如意，经济的拮据和多病的丈夫让她肩负着巨大的压力，而克拉拉对于音乐的热爱又不允许她将其放弃全身心的投入到家庭之中。在分裂而又痛苦的生活中，只有勃拉姆斯的存在能够让她感到温暖和快乐。

本片和宫崎骏的《天空之城》没有任何关系。这是德国女导演
Helma Sanders-Brahms作品，女主角Krystyna Janda获1986年蒙特利尔电影节最佳女演员奖。
A French architect and a Polish photographer enjoy a love affair and meet regularly in Berlin for passionate weekends. Unable to decide whether they should start a steady relationship, they permanently break up with each other. The title is allegorical, in that West Berlin is named Laputa, the flying island that Jonathan Swift once wrote about.

In order to be reunited with Mahmood (Ören), a man she was promised to as a young girl, 20-year-old Shirin (Erten) leaves the life she had in a small village in Turkey in search of him.

The life of Jewish Expressionist poet and performance artist, Else Lasker-Schüler (1869-1945), told chronologically in vignettes given context by archival footage of turn-of-the-century Germany, World War I, and the ascent of the Third Reich. Her poetry often comprises the soundtrack. We see her in relation to men: her first husband, whom she leaves after her son is born; artists like Chagall and Franz Marc; an older muse and then a second husband; and, Gottfried Benn (1886 - 1956), physician and poet. Benn's life is also chronicled: homosexual encounters, his attraction to Else and the Berlin scene, and his politics. Her poems addressed to him define this cultural moment.

Tutor Jeronimo and heiress Josephe fall in love but are quickly torn from one another by execution and jail. However, when fate intervenes in the form of a massive earthquake, the two lovers have no idea what is in store for them.

Emily, a child, stays with her bourgeois grandparents during frequent periods when her mother makes films. Isabelle wraps a picture, flies to her childhood home to pick up Emily, and plans to leave for her place in France. Old wounds between Isabelle and her parents open around Isabelle's life style. It's also apparent that Isabelle's mother, Paula, is unhappy - with her husband and with her youthful hopes dashed when she became pregnant with Isabelle. Unbeknownst to Isabelle, the co-star of the film she's just made has followed her, checked into a nearby hotel, and wants to begin an affair, even though he's married. Can Isabelle sort it out? What's best for Emily?

Her only foray into science fiction—about the havoc wrought on society by a television that satisfies every human craving—The Last Days of Gomorrah was a favorite of Sanders-Brahms, who brought feminist politics to the New German Cinema movement of the 1970s. It is a forceful piece of capitalist realism, critiquing working-class alienation and commodity culture.

讲述了一名被共产党精英引诱的东德女子，在两个德国统一时必须重建自己生活的故事。

1988 film by Helma Sanders-Brahms

deutscher Spielfilm

Deutsches TV-Drama

青年伊果為獵犬療傷，然而住在他心裏那頭受了傷的野獸，要療癒卻不易。在森林深處的獵犬訓練所，伊果對動物照顧有加，但親密關係令他焦慮，既渴望被老闆一家接納，又不善與人相處，酗酒母親的陰影更是揮之不去。老闆用馴服了的狐狸訓練犬隻，引來動保激進份子偷襲，愛與傷害往往一線之差。俄國新銳導演梅沙尼諾娃，與丈夫德沃倫合作，言簡意賅表現人心的孤絕與苦痛。德沃倫曾研讀獸醫，減磅主演份外入型入格。

Industrial city of Norilsk: factories, cold, chemical air. The only desire of young people living here is to leave, against all odds. A docu-style, emotionally-driven drama about a young girl desperately fighting for an escape which is so blurry, and for love which is so insecure.
Due to its vast industrial areas and enormous industrial output, the Russian city of Norilsk has become one of the most polluted places in the world. However, despite the persistent ecological crisis, the severe northern climate and harsh living conditions, life goes on there in its own extreme, as well as routine, way. But the will to live that such an existence fosters is actually the will, or rather the dream, to escape, especially for a young generation. A desperate, hardly possible dream that moves and traps its adherents, turning against them.
Norilsk, with its arctic landscapes, huge factories, anonymous soviet architecture and post-soviet capitalism, is the gripping backdrop and important protagonist of The Hope Factory, the first feature by Natalia Meschaninova, a young filmmaker with an extensive background in documentaries. A dramatic coming-of-age story about two girls - two rivals who pursue the same goal of leaving their homeland but who take different steps to reach it, testing the blurring boundaries of morality and transgression.
Restlessly shot on a hand-held camera and genuinely performed by mostly first-time actors, this kinetic docudrama nearly gets under the skin of its characters and raises universal issues about the 'age of blooming'.

A lyrical comedy about elderly people who meet on a dog playground, quarrel terribly, but this conflict ignites mutual interest in them.

带着对学业的热情，英德蕾自告奋勇地在精神病医院当起了医师助手。然而分配给她的第一个任务就有些棘手：护送时而开朗迷人，时而低沉消极的躁郁症患者保罗，和永远恬静沉着、曾自杀未遂的尤丝袒到另一家医院。英德蕾不得不抛开书本知识，开始按自己的方式与两人相处。渐渐，她卸下了心中的包袱，真切感受到了两位病人的可爱与友善，一场袒露心灵又笑料百出的公路之旅开始了。影片讨论了精神病人在社会中的存在议题，伴随着公路电影必经的成长与改变，在夏日的艳阳暴雨中，观众们打开了一扇窥见精神病人生活的窗。

The trees are covered in thick snow. A peaceful group of hunters tramp through the forest. At night they celebrate their kill. A group of men sworn to their own ethics of the dignity of all creatures. It’s only in the death of the opposite they aimed at that they find respect for the existence of the killed game, for which this violent end of life is the beginning of an existence as an object. Mounted and worked on with extreme skill until they once more resemble the vibrant “before”, the carcasses are processed and made suitable for the human eye and its desire to feast on things. Former but never quite gone deer, muskrats and birds look at you.
The line between the life and death of these animals seems to get blurred in the course of the film, only to be drawn even more strongly. The adoration of the wilderness of tamed nature in rituals of presentation made for humans clearly follows different logics than the comfortable and presentable one of keeping pets. Dead eyes do not look back.

Based on a Soviet propaganda story about Young Pioneer (the Soviet equivalent of a Boy Scout) Morozov, who denounced his father to Stalin’s secret police and was in turn killed by his family. His life exemplified the duty of all good Soviet citizens to become informers, at any expense. In our film, 75 years later, we call him little Janis. He is a Pioneer who lives on the Soviet collective farm “Dawn”. His father is an enemy of the farm (and the Soviet system) and plots against it. Little Janis betrays his father; his father takes revenge upon his son. Who then in this old Soviet tale is good and who is bad? This film reveals that a distorted brain is always dangerous. Even today.

影片讲的是一个冷战时期的荒诞故事，某天几个苏联士兵在严密戒备的海边发现一只女式凉鞋，他们以为有西方间谍趁夜晚偷偷潜入，于是拿着鞋子去附近的村庄里挨家挨户的询问，后来还动员全村的女人们集体试穿这只鞋子，搞出了不少可笑又可叹的事，而最后结局也许更会出人意料。