Et pourtant elles étaient là

A hybrid feature film that investigates contemporaneity through the body and its countless possibilities of expression and meanings. The film puts the body and the idea of the body in evidence, through metalanguage, articulation and confrontation of documentary, fictional and performative languages. The film follows the trajectory of the main character who uses her own body to formulate universes and investigate the meanings that are drawn in it. In a kind of subjective diary written on her skin, she records sensations and reflections, building relationships with thinkers, performances and archival materials, which lead her to other bodies and other stories.

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.

From growing potatoes in Green Park, London, to transforming rabbit crates into seed boxes – just a couple of the many ingenious ways of supporting the war effort which are covered in this film from the Ministry of Information.

A docu-drama shot in 1970, but not completed until 1973, the film sought to encapsulate in an experimental form issues that were under discussion within the Women’s Liberation Movement at this time and to thus contribute to action for change. In its numerous community screenings, active debate was encouraged as part of the viewing experience.

Two girls in their early 20s explore topics of femininity, girlhood, and normalized violence perpetrated on women.

A poetic cine-essay about race and Australia’s colonised history and how it impacts into the present offering insights into how various individuals deal with the traumatic legacies of British colonialism and its race-based policies. The film’s consultative process, with ‘Respecting Cultures’ (Tasmanian Aboriginal Protocols), offers an evolving shift in Australian historical narratives from the frontier wars, to one of diverse peoples working through historical trauma in a process of decolonisation.

Janet Sharrock has two children and Brent “Buddha” Barnes has three; the pair has a meet-cute at the local RSL, marry and unite their families, Brady Bunch style. Now grown up, Becky (famous for being one of only 80 people in the world with Highly Superior Autobiographical Memory), Jessica (a comedian living with depression), Brendan (who aspires to take over Buddha’s repair shop), and young Kylie and Dylan laugh, cry, contemplate existence and dream big with their parents, finding joy and stability in one another as they face immense change.

$avy investigates the historical, cultural, and societal norms around women and money.

Hajar is a 55-years-old Bahktiari woman from Iran who is betrayed by her family and forced to abandon her nomadic lifestyle. Climate change, urbanization and social issues have drastically diminished the traditional migratory activities of the Bakhtiari tribe from Southwestern Iran.

A verité legal drama about Judge Kholoud Al-Faqih, the first woman appointed to a Shari'a court in the Middle East, whose career provides rare insights into both Islamic law and gendered justice.

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home. Featuring Kira Muratova, Natalia Ryazantseva, Inna Churikova, Nonna Mordyukova, and others.