Barbara Hammer's collage of photographs, documents, interviews, lyrical passages and dramatised scenes recalls the lives of two surrealist artists and lesbian Resistance fighters whose work and whose fate has largely been forgotten: Claude Cahun (whose real name was Lucie Schwob, 1894–1954) and her girlfriend and lover Marcel Moore (Suzanne Malherbe, 1892–1972).
Claude Cahun (writer Marcel Schwob's niece) and Marcel Moore were half-sisters. They fell in love around 1910 and were to spend their whole lives together; they are commonly regarded as the first lesbian couple to live and work together as artists. After studying in Oxford and at the Sorbonne, Claude Cahun made a name for herself as a writer and photographer in Paris. Her self-portraits in particular, wearing an array of different masks and costumes, were to make her famous, while Marcel Moore began to gain a reputation as an illustrator and draughtswoman. In 1932/33 they joined the anti-fascist artists association AEAR (Association des Ecrivains et Artistes Révolutionnaires), and in 1937 they moved to Jersey, one of the Channel Islands.
When the Germans occupied Jersey in 1940, the two girlfriends embarked upon a campaign of artistic resistance, putting up posters, writing mani-festos and pamphlets with which they hoped to incite the occupying forces to mutiny. In 1944, both women were arrested by the Gestapo and sentenced to death; the majority of their artistic output was destroyed. They were released from imprisonment after the island was liberated in May, 1945. Claude Cahun was never to recover from the experience.

Maya Deren's Sink, a 30 minute experimental film, is an evocative tribute to the mother of avantgarde American film. The film calls forth the spirit of one who was larger than life as recounted by those who knew her. Teiji Ito's family, Carolee Schneemann and Judith Malvina, float through the homes recalling in tiny bits and pieces words of Deren's architectural and personal interior space. Clips from Maya Deren's films are projected back into the spaces where they were originally filmed appearing on the floorboard, furniture, and in the bowl of her former sink. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know as film with its imaginary nature evokes a former time and space.

Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.

本片紀錄三位女性藝術家的同性戀生活，於封閉與半封閉生活提出人文生活的詰問，從她們的生活及作品獲得啟發，背景橫跨一整個世紀。

Barbara Hammer’s Audience (1981) is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking.

Barbara Hammer interviews a lesbian couple, both gymnasts and performance artists and photographs them doing their routines in the nude.

Welcome To This House, a feature documentary film on the homes and loves of poet Elizabeth Bishop, is about life in the shadows, and the anxiety of art making without full lesbian disclosure. Hammer filmed in Bishop's best loved homes in the U.S., Canada, and Brazil, believing that buildings and landscapes bear cultural memories. Interviews with poets, friends,and scholars provide missing documents of numerous female lovers. Bishop's intimate poems and the creative music composition by Joan La Barbara bring the poet into our lives with new facts and unexpected details.

A comedy about a troop of shield-bearing Amazons who take over city institutions before relaxing in the country. "Superdyke" takes women into the streets when Barbara arms of a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologiz the consumer mentality at Macy's (to the recorded astonishment of casual shoppers), and wander through the erotic art museum. Barbara's frenetic handheld lens catches the startled reactions and the glee of the participants. SUPERDYKE has a home-movie quality to it, but its committed and loose moments in the playground confirm its comic rationale.

A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.