Films Directed by Women

Set in 1937 Stalinist Georgia, the film traces the parallel destinies of a mother, condemned by the government as "an enemy of the people" and exiled to a work camp in Siberia, and her daughter, who meanwhile is sent to an orphanage. Arriving at the overcrowded work camp, the mother and other women who are not considered strong enough to be labourers, must journey still farther, crossing the icy Siberian landscape in search of food and shelter. At the same time, the daughter escapes the orphanage and returns to her former home, where she finds that a KGB officer has taken up residence. He protects her and an uneasy rapport between them develops—one of abhorrence and attraction, need and suspicion.

Fatma 75 is a pioneering film: it is the first non-fiction film by a Tunisian woman, a feminist essay-film, and the first in a series of powerful films about strong female figures in the country. The film was made in the UN International Women's Year, 1975, and has long been recognised as one of the most important films from North Africa.

Four women meet at Dar Joued on the eve of Independence. With different ages and social conditions, they are condemned to live together under the authority and injustice of their jailer: "El Jaida". They will share memories of the outside world, joy, emotions and distress of their daily lives.

Free and a multi-talented artist, Habiba Msika was one of the brightest stars of her time, the twenties. Inspired by the real-life of the artist, the film evokes the last years from 1927.
 Punctuated by the jolts of a changing time, this tumultuous stage in Habiba Msika's life was branded by the love that Mimoun, a wealthy landowner, and Chedly a young poet from a good family, both dedicated to her. In Berlin, during a triumphant tour, she meets the oriental music star, the Iraqi Baghdadi, and is introduced to Parisian life by Peter, and a dandy of disconcerting charm. Back in Tunis, Habiba Msika's life is carried away by the frenetic whirlwind of success, controversies, and thwarted passions until the final tragedy of her death.

Through the history of the traditional female costume and the sum of the signs with which it is charged, the heroine of the film goes in search of her identity.

A poet dies and another one, younger, feels an obligation to promote her work. She is joined by a team of women filmmakers. The film begins with this unusual triangle but, interestingly, it grows into something more complex and subtle than a traditional research project.

影片讲述一个年轻母亲海伦（安妮塔·库斯克思娃-博克思娃 Anita Kuskowska-Borkowska饰）带着三个年幼的孩子艰难生活的心酸故事。她的丈夫安东尼（詹纽思·潘纳西兹Janusz Panasewicz饰）经常扔下他们母女不管。害怕被丈夫遗弃的海伦，被迫杀死了自己的第四个孩子，海伦落下自责和痛苦的泪水，一无所有。波兰女导演用极为优美的光影和画面，向我们讲述这个悲惨的故事，配以浪漫的钢琴、竖琴和很多管弦乐团作为背景音乐，从美学角度将片中人物的痛苦美化了，从而引起强烈的争论和讨论。
电影荣获1999年布鲁塞尔电影节最佳女演员奖、波兰电影奖最佳导演奖等数十奖项。

本部影片讲述老妇人安吉拉（黛纽塔·辛波斯卡 Danuta Szaflarska饰）在临去世前几天与世隔绝的日常生活。这冷清孤单的世界里，既有她对死亡的恐惧，也有她记忆中曾经的幸福与梦想。与老人相伴的只有她唤作“Phlia”的小狗，安吉拉喃喃自语，自问自答。她一心挂念着自己的儿子，可最终也没能相见。在死亡悄然逼近的时候，安吉拉总是望向窗外的秋千，好像回到了从前的快乐日子。在宁静的摇曳着怀旧情怀的黑白光影里，影片默默地记录着老人最后的弥留时光。
影片荣获2007年波兰电影节观众奖、最佳女主角、最佳音响、影评人奖。

影片讲述了被遗弃的小男孩孔德尔（彼得·贾戈尔斯基 Piotr Jagielski 饰）不断寻求自身归属感，找寻精神家园的命运故事。从小被母亲遗弃的孔德尔，在孤儿院的生活充满压抑和克制。母亲一心寻找所谓的真爱，嫌弃孔德尔是自己的累赘，非但不收留儿子，反而置自己的亲生骨肉于不顾。面对母亲的抛弃，小孔德尔失声痛哭。终于，才十一岁大的孔德尔毅然逃离孤儿院，去追寻属于自己的家园。孔德尔开始了他的流浪生活，寄住在一艘废弃的破船上，于此有了一个“家”。弃船对面住着一户富裕人家，小女孩跟他年纪相仿，受过良好的教育生活条件优越。然而因为长相难看，总是受到排挤和冷落，直到遇见一样孤独的孔德尔，幼小的心灵自此有了彼此的慰藉。
本片荣获2006年柏林电影节特别致意最佳影片奖。

Another World traces the biography of Danuta Szaflarska, one the most acclaimed female actors of Polish cinematography. Szaflarska’s rich body of work includes memorable roles in the classics Forbidden Songs (1947) and The Treasure (1949). At ninety-seven years of age, her ongoing work in film and theater includes contemporary material, such as her role in the stage play Między nami dobrze jest (Things Are Good Between Us) by Dorota Masłowska. The film is the result of a close collaboration between Szaflarska, director Dorota Kędzierzawska, and cinematographer Artur Reinhart. The veteran actress talks openly about many facets of her life, from her rural childhood and youth in occupied Poland, to revealing anecdotes from her long career.

三个无家可归的男孩住在俄罗斯的铁路车站。有一天，他们决定越过边界偷偷进入波兰去寻找一个更美好的明天。他们历尽千辛到了波兰，可是结局并不如人愿。

A film set in a small Polish village in the '60s that deals with a young girl's awakening sexuality. Mala, about 13, lives with her unmarried mother and has a boyfriend of her own age. The village is sent into a turmoil by the arrival of the clan of Gypsies, who set up camp in the field. Gypsies are ostracized and damned as 'devils' by the conservative villagers. Mala is attracted to the Gypsies. But the locals attack their camp with fire hoses and Gypsies move on

1975年，随着联合国“国际妇女年”的临近，法国电视台播放了一个名为“妇女年：感谢上帝”的节目。“一切都结束了，”这本书汇集了法国男性的各种可疑言论，当时唯一的女性客人，当时的女国务卿弗兰·奥伊丝·基洛德应该对此作出回应。Maso和Miso Vont en Bateau是女权主义者视频活动家“Les Insoumuses”（卡罗尔·罗索普洛斯、德尔芬·塞里格、纳贾林加特和IO安娜·维德尔）对今晚的回应：他们愤怒而机智地从编辑桌上插手，不仅曝光了节目，而且还揭露了吉洛德作为父权主义者的滑稽行为的办公室。社会。“没有电视图像能代表我们；我们将借助视频讲述我们自己的故事。”
这个集体的另一个作品是《S.C.U.M.宣言》，该宣言分阶段阅读同名的1967年作品。当男性主导的世界事件的新闻图像在电视屏幕上闪烁时，Delphine Seyrig传播了Valerie Solanas关于男性的论文——根据宣言，男性在生物学上是不完整的，并且受到阴道嫉妒的驱使。
As the UN’s “International Year of the Woman” came to a close in 1975, French TV ran a programme called “The Year of the Woman: Thank God! It’s Over,” which assembled various questionable statements by French men to which the only female guest, then State Secretary for Women, Françoise Giroud, was supposed to respond. Maso et Miso vont en bateau is how the feminist video activists “Les Insoumuses” – Carole Roussopoulos, Delphine Seyrig, Nadja Ringart, and Ioana Wieder – responded to this evening: with fury and ample wit, they intervene from the editing table to expose not only the show, but also Giroud’s very office as being the farce of a patriarchal society. “No television image can represent us; we’ll tell our own stories with the help of video.”
Another of the collective’s works is S.C.U.M. Manifesto, which stages a reading of the eponymous 1967 work. As news images of male-dominated world events flicker across the television screen, Delphine Seyrig disseminates Valerie Solanas’s theses on men – who, according to the manifesto, are both biologically incomplete and driven by vagina envy.

48岁的艾琳·拉科维茨（IreneRakowitz）是一位离婚的四个孩子的母亲，她和两个最小的孩子住在柏林的Markisches Viertel区，靠残疾金过活。她的前夫以前是矿工，住在同一幢高层建筑里。受到周围学生活动的启发，艾琳摆脱了丈夫的束缚。但是关于他对孩子们的持续影响，激烈而激烈的冲突依然存在。大女儿们对母亲怀有憎恨和判断，称她为“麻烦制造者”。在这部电影中，艾琳·拉科维茨在谈到她的家庭为什么会分崩离析的同时，也在讨论她自己的雄心壮志……海尔加·雷迪米斯特是Markisches Viertel区的一名社工。她关于一个家庭地狱的纪录片，在其中冲突升级而不是消退，有一个强烈的观点，并不是无争议的1982年。现在看她那本毫无瑕疵的日常暴力编年史，它表现出一种电影家庭疗法的魅力。导演找到了完美的拍摄对象来完成这一点——“你必须保持你的舌头不停地动！“

2009 film by Helga Reidemeister

2001 film by Helga Reidemeister

Berlin, the German capital again, a few years after the fall of the Wall. The city in upheaval is also changing the lives of its inhabitants. A young photographer experiences these changes as a rupture, he looks into an unclear, unsettling future and increasingly feels like a stranger in his old city. He and his friends from the generation of the children of the Wall try to find a new identity without losing the old one. Young artists who fail the profitability test of the market economy. In his search, Robert Paris ends up far away, in India. Back in Berlin, he started developing photos again - the first in years...

Dieser Film ist ein politisches Roadmovie. Es ist eine Reise um den ganzen Globus, auf der Suche nach dem Sinn in den Zeiten des Krieges und gleichzeitig eine Reise in die eigene Vergangenheit. Das zerstörte Kabul weckt Erinnerungen an die verwüsteten deutschen Städte nach dem zweiten Weltkrieg. Es ist ein Film, der in einem inneren und äußeren Ausnahmezustand entstanden ist.