Ocupação Mulheres Mirabal

The inspirational story of teenage singing sensation Mutlu Kaya as she makes a remarkable journey from gunshot victim to fearless survivor. As she battles to heal her haunting voice, she campaigns for women's right in Turkey and beyond. Mutlu means 'happy' in Turkish.

Quel numéro ? - What number ? ou le travail automatisé

Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is placed on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.

femmes sans domicile fixe ,fragments de vies

ane´ma

In a mix of 2D animation and live action, through their voices and acting, two actresses recount the lives of imprisoned women that opposed the Russian Regime and their emotional stories of suffering and anguish.

"Women On Trail" exposes the innate corruption and sexism in the family court system as children are removed from their mothers and given to fathers who often either don't want them or have been convicted of domestic violence.

Christine attends her first and last prom accompanied by Martin Fredericksen

Two friends meet up to talk about themselves, about the violence perpetrated on women, the assaults they have suffered and rape as well as their own alienation. They talk about justice and repression with three lawyers.

Les trente courageuses de La Réunion, une affaire oubliée

Dia de Visita

When Tehran hosts visiting foreign dignitaries, the local authorities clean up the city’s urban image through the controversial process of ‘urban beautification’. Those who are deemed unsavoury are rounded up – drug users, prostitutes and the homeless who sleep in cardboard boxes on sidewalks and who they would rather remain unseen. When these very important people leave, the men are released but the women are kept as wards of the state. An animated documentary made using hand-crafted cardboard miniatures and the voices of women to tell their story, one that has been five years in the making. A story that shows how the face of a city can change, but what is underneath often does not.

In this layered short film, filmmaker Janine Windolph takes her young sons fishing with their kokum (grandmother), a residential school survivor who retains a deep knowledge and memory of the land. The act of reconnecting with their homeland is a cultural and familial healing journey for the boys, who are growing up in the city. It’s also a powerful form of resistance for the women.

For more than forty years, Belela Herrera has dedicated her life to saving that of others. The politically persecuted, those displaced by civil wars, and the world's refugees are her concern and vocation. Her story is also that of a woman who defined herself and twisted the destiny reserved for girls of her social class: marrying to a man from high society, having a large family and a comfortable and elegant existence . And it is also the story of a female legacy that is part and consequence of the invisible resistance of thousands of women.

Casa Helenira Preta de Referência para Mulher

Pauline, Norah, Kristina and others wait for hours, sitting under a hut deep in the Bois de Vincennes. In front of the administrative detention center (CRA) in Paris, they have all come to see their loved ones locked up. Lives on hold, awaiting deportation or release. On this stage, these women tell their stories, talk to each other, share their experience, their revolt and their dreams with new visitors. They are the mirror of migrant detention, its reverse view.

Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.

Mariam, Asiya, and Anissa were 11, 7, and 5 years old when they were raped. The attackers were their paternal uncle, a neighborhood youth, and the nanny's son. They have no memory of the event. To protect them, their bodies developed traumatic amnesia. Years later, the memories returned, and they decided to file a complaint.

As Iracemas

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