The Celebration of the Tragic Silence of the Youngest One

Daughter explores the way women are viewed in society by following three female characters on a Friday night out in St Kilda, who's lives become entwined and affected by an act of violence this fateful night. The award winning short film and an awareness project was inspired by the tragic murder cases of Jill Meagher in Brunswick and St Kilda's own Tracy Connelly, whose occupation as a sex worker was highlighted in the media, leading to her murder and personal story being sadly overshadowed. The main themes explored in the film are violence against women and victim blaming, shown through the eyes of three female leads, lead by Katherine Langford (13 Reasons Why) as Scarlett, Aisha Tara (Heartbreak High) as Jemma and Carolyn Rey as Alethea.

Thrown together under incredible circumstances, two strangers must discover courage and strength when they begin a journey across the treacherous African desert! Equipped only with their wits and the expertise of a native bushman who befriends them, they are determined to triumph over impossible odds and reach their destination. But along the way, the trio face a primitive desert wilderness.

Three objects are used in a manner in which they weren't supposed to be. Something unprecedented happens: armed with a voice and conscience, these objects will reflect on the absurd arguments that support domestic violence.

The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.

A portrayal of girlhood through the eyes of an average teenage girl.

Arpejo

Origami

Reyhan, raised in a religious family, arrives to spend her summer holidays at her grandmother Ummu's house in a conservative central Anatolian village, accompanied by her mother Hatice, and her 6 year old brother Mehmet. The 13 year old is gripped by a state of inner turmoil. She has just had her first period and dreads the consequences of being unable to perform the required religious rites. Reyhan's concerns mount after she finds out the water supply at her grandmother's village house is cut off. She is desperate to find a way to perform the required religious ablution rites, which she has always been told will protect her from attacks by djinns and facial disfiguration. She starts having nightmares. At the same time, Reyhan is also determined to help Şükran, her best friend in the village.

The 12-year old Dolores, a feisty preteen desperate to be seen as a grown-up in 1976 suburbia is on her humiliating, hilarious journey from girlhood to growing up. She fantasizes about sex, womanhood, work... and Freddie Prinze. The girl thinks she's got the lowdown on being a woman, but when her overworked single mom Janice hires Cleo to babysit her world collides with the super cool black 16-year old's, each learns painful truths about what it really means to grow up.

Dealing with anxiety and phobias, Dafni struggles to finish a drawing. As she navigates her relationship with her mother, friends, as well as a dog that she’s been asked to pet sit, her old best friend suddenly reappears after many years and wants to meet up.

Following the arrival of an unwanted guest, the tightly-knit bond between two sisters is put to the test when their idyllic playdate takes a dark turn. Supported by The Future of Film is Female, ALBION ROSE is a late bloomer's coming-of-age drama with hints of magical realism and dark fairytale elements that paint a delicate, yet emotionally charged portrait of sisterhood, loss, and the healing powers of fantasy.

First Bi-lingual movie made in Odia & Bengali. Bengali version name was "Pana Raksha". Produced with a budget of Rs. 64,000, the Odia movie was a hit however the Bengali version was unsuccessful.

Aïcha, a 7-year-old black girl receives a drawing mocking her hair. With the help of her big sister, they will spend the evening trying to make her beautiful like her classmates. How far is she willing to go to be seen and accepted?

On a hot summer day in the countryside, Ines, a young teenager, gets involved in a friendly ball game between boys her age, and among them Malik, the one she has a crush on.

June 2010. 11 years old Julia and Raphaëlle are the best at killing time together. Between walking their blind neighbor’s dogs and finishing their music video before Raph returns to Romania, they unconsciously grow apart. This nostalgic semi-autobiographical story recounts the last moments of the inevitable and awkward summer between childhood and adolescence.

Joy, a mother of a 4 year-old girl, finally decides to file a case under domestic violence against her abusive husband, Dante.

After watching a film, Jane, a young woman, finds herself trapped within the theater, under the haunting gaze of the man who resides there. During her time at the cinema, she discovers the truth of reality - that women face a predatory gaze throughout the course of their lives, and The Gaze captures Jane's journey trying to escape that harsh reality.

Inspired by true experiences of grief, girlhood, and growing up, Jessie Barr’s SOPHIE JONES provides a stirring portrait of a sixteen-year-old. Stunned by the untimely death of her mother and struggling with the myriad challenges of teendom, Sophie (played with striking immediacy by the director’s cousin Jessica Barr) tries everything she can to feel something again, while holding herself together, in this sensitive, acutely realized, and utterly relatable coming-of-age story.

A young woman is invited to be a part of a book club but it soon becomes apparent that the women in this club are more than they appear to be

Nina and her two friends share trepidations and desires, amid adolescent games and self-discovery. As the girls engage in ever new challenges, Nina immerses herself in her own hesitations.