The Day You Love Me
A close-up look at the varieties and complexities of domestic violence, THE DAY YOU LOVE ME takes us into the daily life of policewomen and social workers in one of the Police Commissaries for Women and Children in Nicaragua's capital city of Managua. Women of different ages, as well as children and young adults, come there seeking help against abusive husbands, lovers and parents. They also talk freely about their experiences and their sometimes conflicting desires for change. The men in their lives come to the station to respond to the charges against them by defending themselves, justifying their actions, arguing their own grievances, or even admitting their wrongs. Actively engaged in the life of the community around the Commissary, the policewomen and social workers demonstrate their responsiveness and skill in dealing with a range of situations and abuses. In the course of documenting their day, this important film records the essential and empowering process that breaks the traditional law of silence aiding and abetting domestic violence in its many forms.
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A Place Called Home
Persheng Sadegh-Vaziri grew up in pre-Revolution Tehran daydreaming about an ideal life in the West. Nineteen years later, after living and working in the U.S., Persheng explores her controversial decision to move back to Iran, to return to the place she never stopped calling home. In this fascinating and very personal documentary, Persheng's interviews with her family--with her mother and sister in the U.S. and with her father, who chose to remain in Iran--reveal some of the complex layers of expatriate, national and cultural identities. The film features a rare glimpse at women's lives in contemporary Tehran.
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The Righteous Babes
In this accomplished documentary, acclaimed filmmaker Pratibha Parmar (A PLACE OF RAGE, WARRIOR MARKS) explores the intersection of feminism with popular music, focusing on the role of female recording artists in the 1990s and their influence on modern women. Parmar argues that, far from being dead, feminism has thrived and expanded its reach through the direct, aggressive, and revolutionary medium of rock music, and through the role models of performers like Madonna and Ani DiFranco. Intercutting performance footage with interviews, Parmar explores her thesis with some of the most outspoken female musicians, feminist theorists, and journalists of the UK and US, including Sinead O’Connor, Skin (Skunk Anansie), Chrissie Hynde (The Pretenders), Tori Amos, Ani DiFranco, Camille Paglia, and Gloria Steinem. THE RIGHTEOUS BABES offers a searing and timely critique of the commercialization of feminism through 'Girl Power' Spice Girls style, ditzy Ally McBeal and her trans-Atlantic counterpart, Bridget Jones. With critical insight and candidness, this powerful and timely documentary demonstrates the vibrancy and relevance of feminism to women and young girls today. Essential viewing for feminists, post-feminists and anti-feminists alike.
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Some Ground To Stand On
This compelling documentary tells the life story of Blue Lunden, a working class lesbian activist whose odyssey of personal transformation parallels lesbians’ changing roles over the past 40 years. Starting with Blue’s experience of being run out of the 1950’s New Orleans gay bar scene for wearing men’s clothing, SOME GROUND TO STAND ON combines interviews, rare photos, and archival footage to trace her experiences: giving up her child for adoption and getting her back; getting sober; and coming into her own as a lesbian rights, feminist, and anti-nuclear activist. Now 61 and living in Sugarloaf Women’s Village, Blue reflects on aging, activism, and a life spent “doing what she wanted” in this touching, inspiring look at a generation’s struggle for a lesbian identity and consciousness.
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Step by Step: Building a Feminist Movement, 1941-1977
"****Proving beyond a doubt that feminism began well before the 1960s, and that its players were not just the white middle class, this inspiring film follows the lives of eight Midwestern women, six of whom became founders of NOW. Set against a backdrop of decades of war, prosperity and reform, their stories beautifully illustrate the continuity and diversity of 20th-century feminism, as the participants describe the labor, civil rights, and political movements of the '40s and '50s that led them to take independent action for women. Using well-chosen archival footage, stills, music, and primary-source narration, producer Joyce Follet of the University of Wisconsin and consulting producer Terry Rockefeller (EYES ON THE PRIZE and AMERICA'S WAR ON POVERTY) offer a first-rate, panoramic-yet-personal view of the women on feminism's front lines."
K.Glaser, Video Librarian
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Treyf
TREYF —“unkosher” in Yiddish— is an unorthodox documentary by and about two Jewish lesbians who met and fell in love at a Passover “seder”. With personal narration, real and imagined educational films, and haunting imagery, filmmakers Alisa Lebow and Cynthia Madansky examine the Jewish identity of their upbringings and its impact on their lives. Incisive cultural critics, astute, poignant, and poetic—never cynical—they weave their way from New York to Jerusalem in pursuit of a progressive, secular Jewish identity that draws from their childhood reminiscences as much as from their contemporary queer lives. As referenced in Alisa Lebow’s book First Person Jewish, TREYF is iconoclastic and intelligent, humorous and poignant, a personal journey from kibbutz summers to coming out, from keeping kosher to “Bat Mitzvahs.” A reflection on culture, community, and individual desire, this witty film follows the filmmakers as they discover what they thought was most profoundly “treyf” about their worldviews still has roots in Jewish history.
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Made In India: SEWA in Action
This powerful documentary is a portrait of SEWA, the now-famous women's organization in India that holds to the simple yet radical belief that poor women need organizing, not welfare. SEWA, or the Self-Employed Women's Association, corresponds to the Indian word sewa, meaning service. Based in the western Indian city of Ahmedabad, a dusty old textile town on the edge of the Gujarati desert, SEWA is at its core a trade union for the self-employed. It offers union membership to the illiterate women who sell vegetables for 50 cents a day in the city markets, or who pick up paper scraps for recycling from the streets--jobs that most Indian men don't consider real work.
Inspired by the political, economic and moral model advocated by Mahatma Gandhi, SEWA has grown since its founding to a membership of more than 217,000 and its bank now has 61,000 members, assets of $4 million and customers who walk in each day to deposit a dollar or take out 60 cents. Following the lives of six women involved in the organization, including Ela R. Bhat, its visionary founder, Plattner's documentary is an important look at the power of grassroots global feminism.
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Divorce Iranian Style
Hilarious, tragic, stirring, this fly-on-the-wall look at several weeks in an Iranian divorce court provides a unique window into the intimate circumstances of Iranian women’s lives. Following Jamileh, whose husband beats her; Ziba, a 16-year-old trying to divorce her 38-year-old husband; and Maryam, who is desperately fighting to gain custody of her daughters, this deadpan chronicle showcases the strength, ingenuity, and guile with which they confront biased laws, a Kafaka-esque administrative system, and their husbands’ and families’ rage to gain divorces.
With the barest of commentary, acclaimed director Kim Longinotto turns her cameras on the court and lets it tell its own story. Dispelling images of Iran as a country of war, hostages, and “fatwas”, and Iranian women as passive victims of a terrible system, this film is a subtle, fascinating look at women’s lives in a country which is little known to most Americans. Directed by Kim Longinotto and Ziba Mir-Hosseini, author of MARRIAGE ON TRIAL: A STUDY OF ISLAMIC FAMILY LAW.
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Honey Moccasin
This all-Native production, by director Shelley Niro (Mohawk), is part of the Smoke Signals new wave of films that examine Native identity in the 1990’s. Set on the Grand Pine Indian Reservation, aka “Reservation X”, HONEY MOCCASIN combines elements of melodrama, performance art, cable access, and ‘whodunit’ to question conventions of ethnic and sexual identity as well as film narrative. A comedy/thriller complete with a fashion show and torchy musical numbers, this witty film employs a surreal pastiche of styles to depict the rivalry between bars The Smokin’ Moccasin and The Inukshuk Cafe, the saga of closeted drag queen/powwow clothing thief Zachary John, and the travails of crusading investigator Honey Moccasin. This irreverent reappropriation of familiar narrative strategies serves as a provocative spring-board for an investigation of authenticity, cultural identity, and the articulation of modern Native American experience in cinematic language and pop culture.
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Searching for Go-Hyang
A moving personal documentary, SEARCHING FOR GO-HYANG traces the return of twin sisters to their native Korea after a fourteen year absence. Sent away by their parents for the promise of a better life in the US, they instead suffered mental and physical abuse by their adoptive parents, including the erasure of their cultural heritage and language. Reunited with their biological parents and brothers, the young women explore their past in an attempt to reconnect with their “Go-Hyang”, their homeland, which they find they may not have a place in anymore. Thousands of Korean and Chinese girl babies have been brought to the US for adoption in the last twenty years. This beautiful film is a rare feminist look at the issues of cross-cultural adoption and national identity.
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The Female Closet
This fascinating film from renowned filmmaker Barbara Hammer combines rare footage, interviews, and rich visual documentation to survey the lives of variously closeted women artists from different segments of the 20th century: Victorian photographer Alice Austen, Weimar collagist Hannah Höch, and present day painter Nicole Eisenman. In a compelling examination of the art world’s treatment of lesbians, Hammer documents how the museum devoted to Austen ignores the implications of her crossdressing photos, how the Museum of Modern Art glossed over Höch’s sexuality in a major exhibit, and how Eisenman’s work based on patriarchal porn is described by critics as “liberating, fun, and over the top”. Examining the museum as closet, and the negotiation of visibility and secrecy in lesbian history, this thoughtful film is a provocative look at the relationship between art, life, and sexuality.
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Tree Shade
Shame and embarrassment propel Savannah, a gifted high school student, to embark on a journey through space and time to witness the prison convictions of her great-grandmother Etta Mae, her grand-aunt Olive, and her aunt Denise. The fanciful and chilling tales of a delightfully vain maid in the 1920s, a hopelessly depressed nanny in the 1950s, and a mother frustrated during the holiday season in the 1980s, help Savannah reconcile her feelings about her own past in this touching coming-of-age story. An imaginative, thoroughly engaging drama that speaks volumes about identity and self-worth, TREE SHADE will have special appeal to teenage viewers and delight audiences of all ages.
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Don't Fence Me In
Against the broader backdrop of modern India's political and social history, this lyrical documentary tells the story of the life of Krishna Sikand, the filmmaker's mother, from childhood to maturity. A rich mosaic of memory and impressions, DON'T FENCE ME IN captures the fragmented way in which we journey back through time. Evoking Krishna's earliest years in pre-independence Bombay as the daughter of a well-to-do Bengali family, the film also traces her post-colonial experiences--from marriage to a Punjabi army officer in the face of fierce family opposition, through the raising of two daughters and successful careers as an academic, small business entrepreneur, media consultant, journalist, and poet. Black-and-white photos of Krishna as a child and young woman are juxtaposed with clips from home movies shot by the filmmaker's father nearly thirty years ago, and recent location footage. Krishna's personal narrative is highlighted by her wonderful letters to her daughter and the poems that serve as milestones in her life.
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Visitors of the Night
The failures of the ethnographic endeavor to discover “reality” are revealed in this expository and experimental film. The narrator-ethnographer embarks on an expedition to encounter the Mosuo, an isolated and matrilinear tribe in the mountains of South West China. Their society is built on the principle of the axia-relationship, ties between ‘visitors of the night.’ This means that a man only stays in his wife’s house at night and during the day he works for the benefit of his grandmother. Since men and women do not have economical obligations, their unique, polyandric relationships are based on love only. Recently due to funding by the Han government, The Lugu region has turned into a major touristic area, where tradition and modernity clash -- particularly when the polyandry of the Mosuo is seen as prostitution by outsiders. Van Dienderen, a visual anthropologist, playfully reveals the distance between textual knowledge and the experience of a cinematographic journey in a thoughtful and fascinating documentary.
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Lockin’ Up
When Jamaican-born filmmaker T. Nicole Atkinson threw away her comb to let her hair coil into dreadlocks, she was forced to challenge both society’s and her own conflicted notions of beauty. Her story and those of other African Americans who have chosen to ‘lock up’ are wittily chronicled in this award-winning, entertaining film. Anecdotes, historical data, groit performances, and hair tips mingle in a survey of the origins and cultural significance of dreadlocks, including the stereotypes which mirror the racism inherent in Western standards of beauty. T. Nicole Atkinson is the co-producer of the late Marlon Riggs’ acclaimed documentary, BLACK IS...BLACK AINT.
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2 Or 3 Things But Nothing for Sure
Acclaimed author Dorothy Allison (BASTARD OUT OF CAROLINA) is profiled in this moving, inspiring film. Combining poetic imagery with powerful readings, it evokes Allison's childhood in the poor white American South of the 1950's, her birth as a writer and feminist, and her coming to terms with a family legacy of incest and abuse. A beautifully realized portrait of an artist and survivor, this stirring film provides important insights into the roots of self-renewal and creativity.
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My Feminism
MY FEMINISM is a critically important look at second wave feminism in the 1990’s, a time rife with anti-feminist backlash. Powerful interviews with feminist leaders including bell hooks, Gloria Steinem, and Urvsahi Vaid are intercut with documentary sequences to engagingly explore the past and present and future status of the women's movement. Discussing the unique contributions of second wave feminism, they explore their racial, economic and ideological differences and shared vision of achieving equality for women. An essential component of women's studies curricula, MY FEMINISM introduces feminism's key themes while exposing the cultural fears underlying the lesbian baiting, backlash, and political extremism which informed feminist dialogues in the 90’s, some of which continues to this day.
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Sabor a Mi
Claudia Morgado Escanilla's SABOR A MI is an erotic short drama about sensual yearnings, the guilty pleasures of watching, and the secret complicity of desire. Two women secretly watch the most intimate moments of each other's lives. Chance meetings between the two soon become deliberate encounters and the women discover their mutual longing for each other. This visually stunning short is from the maker of Unbound, winner of the Teddy Award at the Berlin International Film Festival.
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Woman Being
In a critical examination of changing concepts of beauty and sexuality in modern China, WOMAN BEING illustrates how a flood of Western pop culture is adversely affecting women's expectations and self-worth. Revisiting her hometown Chengdu after a long absence,filmmaker Wen-Jie Qin traces the impact of a newly booming beauty industry in a country where thirty years ago women were beat up for wearing makeup. Combining interviews and footage from glamour photo studios and television, WOMAN BEING explores the rise of a new super-feminine, highly sexualized ideal. "This hard-nosed look at women in contemporary China makes a persuasive case for how the economies of pleasure, beauty, and consumption are transacted through exploiting women's bodies and images. It provides a sobering prognosis of what 'freedom' might mean for women in China today." - Marina Heung, Baruch College, CUNY
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