Films Directed by Women

Una historia de la Transición española contada en primera persona por los principales protagonistas: por un lado, los políticos, idealistas o meramente oportunistas, que la llevaron a buen término en las tribunas y los despachos; por otro lado, los ciudadanos que, en las calles, la apoyaron sinceramente o la combatieron con ferocidad. (Precedida por «No se os puede dejar solos»).

Ana is Catalan, daughter of a bourgeois family and works in a studio in advertising. She is 38 years old and has only lived with her husband, with whom she has a relationship cold but accepted by both. Although his family is opposed, decides to leave her husband and takes a vacation with her daughter Barbara, of 12 years, in order to leave behind all the past and start a freer life, with fewer ties, less conventional.

The story of a friendship between two girls of different races, Susana and Rita, in Equatorial Guinea, from 1950 to 1961. Susana discovers with her friend a fascinating but troubled new world in Africa, where she comes of age and experiences love and sex.

Rebekka, Claudia and Sofie are freshmen in high school and will no longer accept being treated as juniors. Taking matters into their own hands, they devise a rite of passage, the 'fortune teller', symbolizing their entry into adulthood. As they take turns challenging each other's sexual boundaries, they eventually have to ask themselves whether performing weird rituals is the easiest way to get to know themselves and feel grown up.

Kauffmann, who was the Danish ambassador to Washington in 1939 when World War II started and who declared himself to be the only true representative of a free Denmark in opposition to the Nazis

Behind the closed doors of the Copenhagen-based women's shelter, the women and children are slowly recovering after having escaped domestic violence. Day by day the women are processing their traumas, building confidence and slowly understanding what it takes to break the cycle of violence.

未来的作家劳拉（Holliday Grainger）和她的室友美女泰勒（Alia Shawkat）在都柏林有一间凌乱的公寓，对酒、茉莉和一夜情有强烈的欲望。然而，当劳拉爱上了吉姆（Fra Fee），一个迷人但拘谨的古典钢琴家，泰勒担心聚会可能很快结束。
《Animals》改编自艾玛·简·昂斯沃思的2014年同名小说，讲述了两个朋友成长和分离的苦乐参半的故事。苏菲·海德（Sophie Hyde）的处女作《52 Tuesdays》在2014年圣丹斯电影节上获得了最佳导演奖，她以令人耳目一新的冷静眼光审视了这段充满争议的友谊，继劳拉和泰勒之后，他们经历了享乐主义的高潮和探索灵魂的低谷。肖卡特的现场直播表演给泰勒一个无政府主义的漫画边缘，完美地补充了格雷格的灵魂转向作为冲突和创造性地阻挡劳拉。两人得到了明星阵容的支持，包括梦幻般的吸毒求婚者德莫特·墨菲和格雷格疲惫但充满爱的妹妹埃米·莫洛伊。

In Los Angeles, a 40-year-old actress works to make it in the cutthroat business of Hollywood while contending with ever-youthful competition.

科学家阿尔玛在柏林著名的佩加蒙博物馆工作。为了获得研究经费，她同意参加一个不同寻常的实验。在三周的时间里，她要和一个人形机器人汤姆生活在一起，这个人工智能被设计成她理想的生活伴侣。机器以英俊的人形设计，是为她的快乐而造的。接下来是一个悲剧故事，探讨了爱、渴望和人类的概念。导演玛丽亚·施拉德曾获得银熊演员奖，同时也是一位出色的电影导演，她改编了Emma Braslavsky的故事，并为其注入了电影的暗示力量。她展现了对表演化学反应的深刻理解，她恰到好处地挑选并指导了一对主角，他们是有趣而不自然的、失败的一对。但是，还有什么比研究分析和感觉之间的颤动更有成效的呢？毕竟，诗歌也能用到左脑逻辑。

Monika Treut’s Gendernauts was one of the first films to portray the transgender movement in San Francisco. Twenty years after the film screened in Panorama in 1999, Treut seeks out the pioneers of that time. What has changed? How have the lives of the protagonists evolved? San Francisco was once, as Annie Sprinkle puts it, the “clitoris of the USA”, but today the tech industry has a firm grip on the city. Aggressive gentrification has displaced the genderqueer community of yesteryear. Under the Trump administration, hard-won transgender rights are under massive pressure as protection against discrimination in healthcare and freedom of choice in the use of public toilets are rolled back.
Alternating between quiet, unobtrusive images and flashbacks, the film delineates how the gendernauts have grown into their identities over the years, developed their careers and started families, and how their energy continues to have an impact today. Their activism has changed over time, but the struggles continue. New perspectives have been added – such as the relationship between humankind and nature in the Anthroprocene epoch – but also the question of how they want to live in old age.

A palliative care team visits homes of terminally ill patients to help them come to terms with the inevitability of death.

他是谁？不需要名牌，不需要身份证；他的名字就写在黝黑的脸孔、乾皱的手与足、痠痛的全身关节，刻烙在每一个海边的脚印上。船带着生活的重担，收成的焦虑、种种不可测不可轻视的变数，来了又走了。他如大地上每一个农人，只不过植是海盐，耕的是心田。谦厚忠实的海盐实录，教大家动容的不是成与败，而是犹如薛西弗斯推石上山的神话，徒劳成为上天加诸凡人身上的诅咒，但只要坚持，终至爱上苦难，那麽，天神便要吞下那鄙视眼波。获阿姆斯特丹纪录片节最佳首作奖。

In 2010, 81 inmates died in a huge fire at San Miguel prison in Chile’s capital city Santiago. Inside, they were trapped behind bars like rats; outside, dozens of family members waiting for visiting hours to begin looked on helplessly as their loved ones shouted for help. The doors remained locked. This reconstruction sheds light on the utter failure of the prison’s administration, which was housing twice as many prisoners as permitted.

Berlin. Summer 2018. They are 17 years old. The diverse neighborhood they grew up in is one big construction site, where people have to give way to the dreams of others. They drift through the city and wonder how anyone will be able to live in this city in the future. They are always in discussion: about everyday sexism, the individual's responsibility for the system in which we live. What is happening and what should happen is in contradiction, but they keep the faith.

A work that is both narrative and experimental, with the omnipresence of a strange, disturbing and playful piano for the chaotic journey of its central character which does not fail to intrigue.

高中校园里的性别歧视和价值扭曲，让这位害羞的16岁女孩再也受不了了！妈妈的叛逆过往让她灵机一动，匿名发行一份小报，继而引爆风靡全校的成长变革。本片改编自珍妮佛·马修的小说，由艾米·波勒执导。

莉拉刚刚和出轨的男朋友分手，她感到失望、沮丧和受伤。为了寻找爱情和亲密关系，她建立了一系列短期关系，而她的朋友们提出了糟糕的建议，她的前任试图赢回她。

这是一部由法国导演阿涅斯·瓦尔达执导的纪录片，是展览《L'île et elle》的延伸作品。装置艺术《Les veuves de Noirmoutier》（又名《努瓦穆捷的寡妇们》）中，瓦尔达拍摄了多位不同年龄的女性，她们讲述了自己的守寡生活以及在努瓦穆捷岛的居住经历。这部电影是这些会面的蒙太奇集锦，风格既质朴又带着忧郁。