Les femmes de pierre / 2019

Actress Liana Orfei and film historian Fabio Melelli talk about Il mulino delle donne di pietra

Visages de femmes / 1939

Georges Legrand is a young unscrupulous reveler. He seduces Fred, a woman doctor before shamelessly dumping her for Aline Ribourg, a tennis player. Soon fed up with his new conquest, he returns to Fred. But Aline is pregnant from him. Showing an admirable sense of self-sacrifice, Fred manages to persuade Georges to marry Aline.

Les Femmes / 2022

A young woman guides a man through a mysterious forest. In his eyes, everything seems normal, until he comes across two women waiting for him in a macabre ritual.

Ain't No Time For Women / 2020

The hairdressing salon “Saïda” is a space where people speak openly, laugh and argue. The subject rarely is hair. In the run-up to the presidential elections in Tunisia the shop turns into a political arena where the women – young or old, conservative or with a modern outlook – indulge in discussions about the pros and cons of the candidates. Their clever and witty statements reflect a young democracy with all its rifts and fault lines.

Femmes: les oubliées de la santé / 2021

Today, in France, in terms of health, being born a woman is a disadvantage. Less well diagnosed than men, less quickly treated, they escape the medical radar and become invisible.

Homo Faber (Trois femmes) / 2015

A man turning 50 (Walter Faber) narrates his liaisons with three women: Hanna, who was pregnant and left him many years ago in Zurich; Ivy, who broke up with him recently in New York; Sabeth who is 20 and whom he just met on a boat to Europe. Sabeth and the narrator travel to France, Italy and Greece. But who is Sabeth? What does she feel towards the narrator? What does he feel towards her? The entire movie is shot in subjective view (we only see what the narrator sees); there are no dialogues, just his post-synchronised voice.

Le pays qui n'aimait pas les femmes / 2013

Traces, empreintes de femmes / 2003

« Traces, women's imprints » is a film that ventures to the discovery of three grandmothers kassenas (Burkina Faso,) their granddaughter, and the exclusively feminine art of this region's mural paintings. Between these women's portraits and a traditional art form, « Traces » is a painting on paintings that reflects upon transmission, education and memory in the context of a world in mutation.

Femmes Tiv du Nigeria / 2002

In Nigeria, in the villages of Apir and Fiidi in the state of Benue, the women of the Tiv ethnic group struggle daily to improve their lives. As a result of their work in the fields and the sale of their harvest at market, most of these women have been able to attain economic independence. In 1987, the Nigerian government, prodded by the United Nations and women's organizations in Nigeria, developed a program for supporting women in rural environments called the "Family Support Programme," which encouraged them to organize more effectively and to form co-operatives. Several representatives of the government and the Programme present the broad outlines of this project, and talk about the women's investment and the problems they have encountered. The women describe their role in these co-operative associations and how they view this collective work and its benefits, which enable them to improve their socio-economic situation.

Comment devenir un trou de cul et enfin plaire aux femmes / 2004

The Women of Brukman / 2007

The workers of the clothing factory Brukman in Buenos Aires continue production during Argentina's financial collapse in 2001.

Femmes enragées / 1999

Trump : l'homme qui n'aimait pas les femmes / 2020

Violent Femmes: Live at the Hacienda / 2007

Milwaukee, Wisconsin-based alternative rockers Violent Femmes make the trip from American to Great Britain in order to perform two spitfire sets at the legendary Hacienda in 1982-1983, and thankfully for fans cameras were rolling to capture both shows in their entirety. Never before released on any format, these two landmark concerts capture the iconic 1980's cult band in their absolute prime while offering a glimpse into the legendary nightclub that spurned on the Manchester music scene.

Filming Desire: A Journey Through Women’s Cinema / 2000

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

Objectif femmes /

Rêve de femmes / 2011

A new documentary film on Fellini's 'La Città del Donne' ('City of Women') directed by Dominique Maillet, featuring producer Renzo Rossellini, film historian Aldo Tassone, producer and film historian Carlo Lizzani, and Federico Fellini's assistant Dominique Delouche (1955-1960).

Ah, les femmes ! / 1995

3 femmes en colère / 2013

Deux Femmes / 1992

A social story of a man who married a second wife, in addition to his first wife whom have a boy and a daughter with, the man brought the new wife in the same house with his first wife, which took all the rights, while the first remained suffering with her two children.