Sociology

Set in the context of France's laïcité, (France's version of secularism), MARIANNE follows seven Muslim women challenging bans on wearing hijabs, headscarfs, face coverings, and abayas at school and in public. Their stories resonate globally, urging viewers to reevaluate liberty, feminism, and Western identity.

Through multigenerational conversations, 80 Years Later engages with the racial inheritance of Japanese American family incarceration during World War II.

Dissecting one of the most influential platforms of the contemporary social media landscape, TIKTOK, BOOM., directed by CODED BIAS filmmaker Shalini Kantayya, examines the algorithmic, socio-political, economic, and cultural influences and impact of the history-making app.

International award-winning Innu writer and poet Joséphine Bacon, a meditation on interconnectedness, and an anti-colonialist story about revitalizing Indigenous languages.

A former right-wing extremist explores why people join hate groups and what makes them decide to leave.

A hopeful look at one doctor’s struggle to help HIV+ patients in India find love and meet societal expectations by playing marriage matchmaker.

A collective portrait of feminist conversation 40 years ago and today based on letters sent to Ms. Magazine in the 1970s.

Nerdy women - the "hidden half" of fan culture - open up about their lives in the world of conventions, video games, and other rife-with-misogyny pop culture touchstones.

LOVE THE SINNER is a personal documentary exploring the connection between Christianity and homophobia in the wake of the 2016 shooting at Pulse nightclub in Orlando.

NOTHING WITHOUT US tells the inspiring story of the vital role that women have played - and continue to play - in the global fight against HIV/AIDS.

OHERO:KON - UNDER THE HUSK follows two Mohawk girls on their journey to become Mohawk women.

Muslim filmmaker Deeyah Khan’s Emmy-winning look at the personal and political motivations behind the resurgence of far-right extremism in the U.S.

For many Black girls raised in the suburbs, the experiences of going to school, playing on the playground, and living day-to-day life can be uniquely alienating. BLACK GIRL IN SUBURBIA looks at the suburbs of America from the perspective of women of color. Filmmaker Melissa Lowery shares her own childhood memories of navigating racial expectations both subtle and overt-including questions like, "Hey, I just saw a Black guy walking down the street; is that your cousin?" Through conversations with her own daughters, with teachers and scholars who are experts in the personal impacts of growing up a person of color in a predominately white place, this film explores the conflicts that many Black girls in homogeneous hometowns have in relating to both white and Black communities. BLACK GIRL IN SUBURBIA is a great discussion starter for Freshman orientation week and can be used in a wide variety of educational settings including classes in sociology, race relations, African American Studies, Women's Studies, and American Studies.

After spending nearly a decade as a journalist documenting young women sold as slaves into the sex trade, award winning filmmaker Mimi Chakarova (THE PRICE OF SEX) sets out on a journey across the United States to explore how men feel about women and love. Piecing together a rich tapestry of vignettes, woven from stories shared by men of different races, ages, and socio-economic backgrounds, Chakarova weaves a stunningly honest and unapologetic portrayal of masculinity in America. With a diverse set of subjects from tiny blues bars of the Deep South to hedge funds of Manhattan and from ranchers in New Mexico to farmers in the Midwest, MEN: A LOVE STORY is a poignant and at times unforgettable dark comedy that reveals a deeper multilayered understanding of maleness, sexuality and gender performance in America today.

Profiled knits the stories of mothers of Black and Latino youth murdered by the NYPD into a powerful indictment of racial profiling and police brutality, and places them within a historical context of the roots of racism in the U.S. Some of the victims—Eric Garner, Michael Brown—are now familiar the world over. Others, like Shantel Davis and Kimani Gray, are remembered mostly by family and friends in their New York neighborhoods. Ranging from the routine harassment of minority students in an affluent Brooklyn neighborhood to the killings and protests in Staten Island and Ferguson, Missouri, PROFILED bears witness to the racist violence that remains an everyday reality for Black and Latino people in this country. Moving interviews with victims’ family members are juxtaposed with sharply etched analyses by evolutionary biologist, Joseph L.Graves, Jr, (The Race Myth) and civil rights lawyer, Chauniqua D. Young, (Center for Constitutional Rights, Stop and Frisk lawsuit). PROFILED gives us a window on one of the burning issues of our time.

Executive produced by Susan Sarandon, DEEP RUN is a powerful verité portrait of trans life in rural North Carolina. Exiled by her family and rejected by an ex-partner, 17-year-old Spazz has no one to lean on for support. But when Spazz falls in love again and summons up the courage to become Cole, a strong-willed trans-man, his candid humor and steadfast, all-inclusive Christian beliefs counter the bigotry he experiences daily. This deeply personal documentary reveals rebirth and courage within America’s deeply conservative Bible Belt as Cole struggles to find a church that will affirm his identity and the couple's relationship. With a small group of supportive friends, relatives, and his girlfriend, Ashley, Cole's search for love and belonging leads him to a radical revision of what faith and church can be. An intimate study of young outsiders in an insular Christian community, DEEP RUN explores the intersection of modern identity and faith in the American South. Essential viewing for LGBTQIA Audiences, Queer and Gender studies classes.

Broadcast nationally on HBO, SOUTHERN RITES is a powerful portrayal of how perceptions and politics have divided two towns in southeast Georgia along racial lines for years. In 2009, The New York Times Magazine published filmmaker and acclaimed photographer Gillian Laub’s controversial images of Montgomery County High School’s racially segregated proms. A media furor ensued and under extreme pressure, the Georgian town was forced to finally integrate the proms in 2010. Laub returned camera in hand to document the changes, only to stumble upon a series of events far more indicative of race relations in the Deep South: old wounds are reopened following the murder of an unarmed young black man by an elderly white town patriarch. Against the backdrop of an historic campaign to elect its first African-American sheriff, the case divides locals along well-worn racial lines and threatens to drag the town back to darker days. SOUTHERN RITES documents one town's painful struggle to progress while confronting longstanding issues of race, equality and justice. Through her hauntingly intimate portrait, Laub reveals the horror and humanity of these complex, intertwined narratives, a chronicle of their courage in the face of injustice. Laub’s film captures a world caught between eras and values with extraordinary candor and immediacy— and ultimately asks whether a new generation can make a different future for itself from a difficult past.

THE SAME DIFFERENCE is a compelling documentary about lesbians who discriminate against other lesbians based on gender roles. Director Nneka Onuorah takes an in-depth look at the internalized hetero-normative gender roles that have become all too familiar within the African American lesbian and bisexual community. Onuorah shows how these behaviors reproduce the homophobic oppression and masculine privilege of the straight world, while looking for solutions in compelling discussions with community members. Self-identified studs—and the women who love them—discuss hypocrisy in terms of gender roles, performative expectations, and the silent disciplining that occurs between community members. This film features many queer celebrities, including actress Felicia “Snoop” Pearson from the critically acclaimed HBO drama The Wire, and Lea DeLaria from Netflix’s Orange Is the New Black, living daily with opinions about how identity should be portrayed. Onuorah's engaging documentary shines a light on the relationships and experiences within the queer black female community, intersecting race, gender and sexuality. Required viewing for Women’s, Gender and Queer Studies.

In this documentary film, Isabelle Boni-Claverie explores the role of race and the persistence of racism in France, as well as the impact of the French colonial past. Through an exploration of her personal family history, and interviews with historians and academics, TOO BLACK TO BE FRENCH peels back the layers of race relations in supposedly institutionally colorblind France. Boni-Claverie, a French-Ivorian, who grew up in upper class French society, unpacks how socio-economic privilege doesn’t mean protection from racial discrimination. Boni-Claverie solicits anonymous individuals to speak on their daily experiences with race, class, discrimination and micro-aggressions. TOO BLACK TO BE FRENCH also features interviews with acclaimed sociologists and historians including Pap Ndiaye, Eric Fassin, Achille Mbembe, and Patrick Simon to help contextualize racial history in France. Boni-Claverie’s film starts an urgent discussion on French society's inequalities and discrimination.

When one thinks of the American Deep South, the image of veiled Muslim students strolling the University of Alabama campus is the last thing that comes to mind. VOICES OF MUSLIM WOMEN FROM THE US SOUTH is a documentary that explores the Muslim culture through the lens of five University of Alabama Muslim students. The film tackles how Muslim women carve a space for self-expression in the Deep South and how they negotiate their identities in a predominantly Christian society that often has unflattering views about Islam and Muslims. Through interviews with students and faculty at Alabama, this film examines representations and issues of agency by asking: How do Muslim female students carve a space in a culture that thinks of Muslims as terrorists and Muslim women as backward?

In much of America, progress in HIV/AIDS treatment suggests the worst is behind us, but every year 50,000 Americans are still diagnosed with the virus that causes AIDS. Astonishingly, it’s one of the leading causes of death of African American women. And nearly half of the Americans with HIV live in the South, where the AIDS epidemic has taken root in rural communities. WILHEMINA’S WAR is an intimate, personal narrative that tells the story of one family’s struggle with HIV over the course of five years. Despite facing institutional and personal obstacles every step of the way, 62-year-old Wilhemina Dixon works tirelessly to combat the stigma and care for her daughter and granddaughter, both HIV-positive. Emmy award winning journalist and Professor June Cross finds Wilhemina, a one woman army fighting against a systemic dehumanization that’s the result of centuries of racism, and lack of access to drugs and treatment. Her story touches upon many of the structural issues that contribute to the alarming rising trend of HIV-positive women in the South: lack of education, lack of access to quality healthcare, lack of transportation, and silence and stigma in the local church congregations. This urgent documentary lays bare the intersection of poverty, race and politics with women’s health and security in the rural south, while showing determination in the face of adversity, and the triumph of the human spirit. Essential viewing for African-American Studies and Public Health courses.

Life After Manson is an intimate portrait of one of the world’s most infamous crimes and notorious killers. At 21 years old, Patricia Krenwinkel callously murdered three people at the command of Charles Manson. Now 66 years old, she continues to be demonized by the public and haunted by the suffering she caused over four decades ago. Through an exclusive interview with and never before seen footage of Krenwinkel, filmmaker Olivia Klaus (SIN BY SILENCE), frames a historically irreconcilable story through a complex emotional lens, offering insight into what led a suburban girl to commit crimes the world will never forget. A provocative and powerful character study, LIFE AFTER MANSON reveals a broken woman struggling with her past, her arduous effort to evaluate the cost of her choices, and the possibility of self-forgiveness.

NI AQUI, NI ALLA illuminates the challenges facing an undocumented college student and her family. Blanca, a second-year student at the University of California, Berkeley, crossed the border from Mexico into the United States with her parents when she was a child. As a student under the California DREAM Act who possess DACA (Deferred Action for Childhood Arrivals), Blanca qualifies for financial aid and has temporary protection from deportation, though her undocumented parents, who live and work in California's agricultural Central Valley, do not. NI AQUI, NI ALLA paints an intimate portrait of an undocumented family as they support each other during a turning point in their lives and stay together through the distance. At a time in this country’s history where the debate around immigration is highly contested and demands to close the border are in the daily news, NEITHER HERE, NOR THERE paints a very human face on an issue that many use simply as partisan, political fodder. Essential viewing for Anthropology, Sociology and Multicultural and Immigration Studies.

Female virginity. The US government has spent 1.5 billion dollars promoting it. It has fetched $750,000 at auction. There is no official medical definition for it. And 50 years after the sexual revolution, it continues to define young women’s morality and self-worth. This hilarious, eye-opening, occasionally alarming documentary uses the filmmaker’s own path out of virginity to explore its continuing value in our otherwise hypersexualized society. Layering vérité interviews and vintage sex-ed films with candid self-reflection and wry narration, Shechter reveals myths, dogmas and misconceptions behind this "precious gift." Sex educators, porn producers, abstinence advocates, and outspoken teens share their own stories of having - or not having - sex. In a culture where "Be sexy, but don’t have sex" is the overwhelming message to young women, the film goes through the looking glass to understand a milestone almost everyone thinks about but no one actually understands.

There is a group of people in the world today who are more persecuted than anyone else, but they are not political or religious activists. They are girls. Being born a girl means you are more likely to be subjected to violence, disease, poverty and disadvantage than any other group on Earth. In I AM A GIRL, we meet 14-year-old Kimsey from Cambodia, forced to sell her virginity at 12; Aziza from Afghanistan, who will be shot if she goes to school; Breani, a teen living in a ghetto of NYC and dreaming of stardom; Katie from Australia, who is recovering from a suicide attempt; Habiba from Cameroon, betrothed to a man 20 years her senior; and Manu from Papua New Guinea, about to become a mother at 14 following her first sexual encounter. As they come of age in the way their culture dictates, we see remarkable heart-warming stories of resilience, bravery and humor. Nominated for four Australian Academy Awards including Best Documentary and Best Director, I AM A GIRL is an inspirational feature length documentary that paints a clear picture of the reality of what it means to be a girl in the 21st century. I AM A GIRL provides practical and ready-to-use resources for educators to address human rights and social justice issues affecting girls in the classroom. Girl Be Heard Education Guides for I AM A GIRL are three units of 25 total lesson plans aligned with US Common Core Curriculum (grades 9-12), to provide a practical and ready-to-use resource for teachers to address human rights and social justice issues affecting girls around the world. Girl Be Heard Education Guides for I AM A GIRL help teachers bring important human rights topics and a future of gender equality to the classroom. For more information, go to: http://girlbeheard.org/i-am-a-girl-education-guides.

During the 1970s and 80s, thousands of New York’s primarily Jewish senior citizens migrated to Kings Point, a retirement community in Florida. Lured by blue skies, sunshine and the promise of richer social lives, they bought paradise for a mere $1,500 down payment. 2013 Academy Award® nominee for Best Documentary (Short Subject), KINGS POINT tracks the stories of five residents of this typical retirement complex who arrived decades ago with their health intact and spouses by their sides. Now that they and their community, comprised primarily of widowed women, face advanced age and mortality, paradise demands a higher price. Through candid interviews the film exposes the dynamic interplay of their desire for independence, need for community, and ambivalence toward growing old. Filmmaker and Emmy® nominee Sari Gilman deftly balances seriousness with humor, providing a bittersweet look at love, loss and self-preservation as well as a deeply empathetic portrait of aging in America and the American Dream’s last act.

Unlike any other, the annual debutante ball in Laredo, Texas is part of a lucrative month-long festival honoring George Washington’s birthday. LAS MARTHAS follows two young women as they prepare for this elaborate rite of passage.

A tale of two sisters living in the shadow of two Chinas, this documentary by award-winning filmmaker Marlo Poras (Mai’s America; Run Granny Run) follows Juma and Latso, young women from one of the world’s last remaining matriarchal societies. Thrust into the worldwide economic downturn after losing jobs in Beijing and left with few options, they return to their remote Himalayan village. But growing exposure to modernity has irreparably altered traditions of the Mosuo, their tiny ethnic miniority, and home is not the same. Determined to keep their family out of poverty, one sister sacrifices her educational dreams and stays home to farm, while the other leaves, trying her luck in the city. The changes test them in unexpected ways. This visually stunning film highlights today’s realities of women’s lives and China’s vast cultural and economic divides while offering rare views of a surviving matriarchy.

Archival montage, science fiction and an homage to 1970s feminist filmmaking are woven together to form this haunting and lyrical essay film excavating hidden histories of childbirth in the twentieth century. After several years of buying films online and working in historical archives, award-winning filmmaker Irene Lusztig amassed an unusual and fascinating collection of found footage aimed at teaching women how to be pregnant, give birth, and look after babies, along with training films for obstetricians and health care professionals, and a handful of home movies. Assembling her extraordinary trove from over 100 different sources, including newly rediscovered Soviet and French childbirth material tracing the evolution of Lamaze, THE MOTHERHOOD ARCHIVES inventively untangles the complex, sometimes surprising genealogies of maternal education. This extraordinary achievement illuminates our changing narratives of maternal success and failure while raising important questions about our social and historical constructions of motherhood.

From 1945-73, 1.5 million unmarried young American women, facing enormous social pressures, surrendered babies to adoption. Lacking sex education and easy access to birth control, they were forced into hiding while pregnant and then into “abandoning” their infants. In her latest film, Ann Fessler, Professor of Photography at Rhode Island School of Design, reprises the subject of her award-winning The Girls Who Went Away (National Book Critics Circle; Ballard Book Prize), which Ms. readers named an all-time best feminist book. Drawing on interviews with 100 women, Fessler lets them have their say and brings hidden history to light. We hear only their voices, which detail wrenching experiences against images from vintage newsreel and educational films reinforcing stereotypes of women’s roles following WWII. This gripping documentary will help today’s students grasp what life was like before the sexual and feminist revolutions had fully dawned.

Evangelical Christians are calling out for a second sexual revolution: chastity! As a counter-movement to the attitudes and practices of contemporary culture, one in eight girls in the U.S. today has vowed to remain "unsoiled" until marriage. But the seven children of Randy and Lisa Wilson, the Colorado Springs founders of the Purity Ball, take the concept one step further. They save even the first kiss for the altar. Following the Wilsons for two years, this impressive documentary observes the family’s life up close as some of their children prepare for their fairytale vision of romance and marriage, and seek out their own prince and princess spouses. As VIRGIN TALES takes in home routines, church services, social gatherings, conventions and purity balls, a broader theme emerges: how the religious right is grooming a young generation of virgins to embody an Evangelically-grounded Utopia in America.

This thought-provoking short film examines the notion that “girl power” has been co opted by commerce to create a feminist construct that is ultimately damaging to girls’ identity and development. In a range of diverse, revealing interviews with girls as young as seven, we witness the power of the popular media in developing brand loyalty and image self-consciousness. Complementing the girls’ testimony are numerous pop culture examples, as well as academics illuminating how the concept of girl power has been used to bring in big money by focusing on appearance. From Dora the Explorer’s grooming aids to Disney’s Princesses line to the highly sexualized Bratz dolls, the message is clear: girl power means being attractive. As one particularly astute young interviewee puts it, “Somewhere along the way girls get the idea ‘okay, I’m supposed to look hot every time I leave my house.’” GIRL POWER is critical viewing for women’s studies, advertising and mass communications courses, educators or anyone who works with young girls.

Lebanese poet and writer Joumana Haddad has stirred controversy in the Middle East for having founded Jasad (the Body), an erotic quarterly Arabic-language magazine. Dedicated to the body’s art, science and literature, Jasad is one of the first of its kind in the Arab world and has caused a big debate in the Arabic region not only for its explicit images, erotic articles and essays on sex in Arabic but also for the fact that an Arab woman is behind it all. Despite Beirut’s external appearance of freedom portrayed through its infamous nightlife and women’s stylish and open revealing fashion sense, this is all still taboo. JASAD & THE QUEEN OF CONTRADICTIONS, by Lebanese director Amanda Homsi-Ottosson, tackles the subject of sexuality in Lebanon, giving insight on the rare use of the Arabic language to discuss sex and erotica. Different views regarding the magazine and sexuality are also given by the head of a women’s rights organization, a sexual health educator and a doctor who performs hymen reconstruction surgeries. Despite the debates, the threats and the lack of funds, one passionate woman shows no sign of slowing down her small steps towards a “sexual revolution” in the Arab world.

JUSTICE FOR SALE follows the young, courageous Congolese human rights lawyer Claudine Tsongo who refuses to accept that justice is indeed “For Sale” in her country. When she investigates the case of a soldier convicted of rape, she becomes convinced his trial was unfair and uncovers a system where the basic principles of law are ignored—and when the system fails, everyone becomes a victim. The documentary not only provides a glimpse into the failings of the Congolese judicial system but also raises questions about the role of the international community and non-governmental organizations in reforming it. Does their financial support cause justice to be for sale? And who pays the price? This is the third documentary in Dutch filmmakers Ilse and Femke van Velzen’s trilogy about the Congo, following FIGHTING THE SILENCE, about the consequences for victims of sexual violence and WEAPON OF WAR, confessions by those who perpetrated the acts. These films are essential viewing for anyone interested in the issues facing contemporary Africa.

Women are the fastest-growing U.S. prison population today. Eighty percent are mothers of school-age children. Jenifer McShane's absorbing documentary gives human dimensions to these rarely reported statistics, taking us inside Bedford Hills Correctional Facility, a maximum security prison north of New York City. Shot over four years, MOTHERS OF BEDFORD follows five women - of diverse backgrounds and incarcerated for different reasons- in dual struggles to be engaged in their children's lives and become their better selves. It shows how long-term sentences affect mother-child relationships and how Bedford's innovative Children's Center helps women maintain and improve bonds with children and adult relatives awaiting their return. Whether it be parenting's normal frustrations to celebrating a special day, from both inside and out of the prison walls, this moving film provides unprecedented access to a little known, rarely shown, community of women.

By returning to the roots of Islam and understanding how societies have found justification for their treatment of women within Islamic sources, this thoughtful and far reaching film is an essential resource that debunks myths about women and Islam. Renowned Muslim feminist scholars and journalists, including Asra Q. Nomani, Mona Eltahawy, Azadeh Moaveni, Dr. Amina Wadud, Dr. Khaled Abou El Fadl and Asma Gull Hasan, detail how from early on very different understandings of the Qur’an lead to vastly different translations, with enormous repercussions for women living in different Islamic societies around the world. The film alternates between the history of Mohammad and issues facing Muslim women today—from the wearing of the veil, to praying in the mosque, and attitudes towards domestic violence and honor killings. It also looks at how feminism works within Islam in the modern era. RIGHTS & WRONGS is indispensable for courses on Islamic and Middle Eastern studies, comparative religion, women’s studies and more.

Rapper, singer and activist, Sister Fa is hero to young women in Senegal and an unstoppable force for social change. A childhood victim of female genital cutting (FGC), she decided to tackle the issue by starting a grassroots campaign, “Education Without Excision,” which uses her music and persuasive powers to end the practice. But until 2010 there’s one place she had never brought her message – back home to her own village of Thionck Essyl, where she fears rejection. SARABAH follows Sister Fa on this challenging journey, where she speaks out passionately to female elders and students alike, and stages a rousing concert that has the community on its feet. A portrait of an artist as activist, SARABAH shows the extraordinary resilience, passion and creativity of a woman who boldly challenges gender and cultural norms. It’s an inspiring story of courage, hope and change.

Renowned for their balance and skill, six generations of Mohawk men have been leaving their families behind on the reservation to travel to New York City, to work on some of the biggest construction jobs in the world. Jerry McDonald Thundercloud and his colleague Sky shuttle between the hard drinking Brooklyn lodging houses they call home during the week and their rural reservation, a gruelling drive six hours north, where a family weekend awaits. Their wives are only too familiar with the sacrifices that their jobs have upon family life. While the men are away working, the women often struggle to keep their children away from the illegal temptations of this economically deprived area. Through archival documents and interviews, Academy Award®-nominated director Katja Esson (FERRY TALES, LATCHING ON) explores the colorful and at times tragic history of the Mohawk skywalkers, bringing us a nuanced portrait of modern Native American life and a visually stunning story of double lives.

SLAYING THE DRAGON is a comprehensive look at media stereotypes of Asian and Asian American women since the silent era. From the racist use of white actors to portray Asians in early Hollywood films, through the success of Anna May Wong’s sinister dragon lady, to Suzie Wong and the ’50s geisha girls, to the Asian-American anchorwoman of today, this fascinating film shows how stereotypes of exoticism and docility have affected the perception of Asian-American women. Produced by Asian Women United, this invaluable resource has been widely used by universities and libraries. SLAYING THE DRAGON: RELOADED is a 30-minute sequel to SLAYING THE DRAGON. RELOADED looks at the past 25 years of representation of Asian and Asian American women in U.S. visual media — from blockbuster films and network television to Asian American cinema and YouTube — to explore what’s changed, what’s been recycled, and what we can hope for in the future.

One hundred years ago, American teachers established the English-speaking public school system of the Philippines. Now, in a striking turnabout, American schools are recruiting Filipino teachers. THE LEARNING, from award-winning filmmaker Ramona S. Diaz (IMELDA), is the story of four Filipina women who reluctantly leave their families and schools to teach in Baltimore. With their increased salaries, they hope to transform their families' lives back in their impoverished country. This absorbing, beautifully crafted film follows these teachers as they take their place on the frontline of the No Child Left Behind Act. Across the school year's changing seasons, the film chronicles the sacrifices they make as they try to maintain a long-distance relationship with their children and families, and begin a new one with the mostly African-American students whose schooling is now entrusted to them. Their story is intensely personal, as each woman deals with the implications of her decision to come to the US, and fundamentally public, as they become part of the machinery of American education reform policy.

After filmmaker Katja Esson’s sister gave birth in Germany, she was able to breastfeed her baby anywhere and at any time. Returning home to New York, Esson found that breastfeeding was rarely practiced and largely unseen. Academy Award® Nominee Esson (Ferry Tales) turned her quirky eye on the subject and set out to learn why this was so. Her wide-ranging, frequently funny documentary highlights the intersecting economic, social, and cultural forces that have helped replace mother’s milk with formula produced by a billion dollar industry, and reveals the challenges and rewards for women who buck the trend. Latching On draws on lively first-hand accounts from mothers of diverse ethnicities and economic backgrounds, as well as candid observations by pediatricians, healthcare providers, lactation specialists, and the proprietor of New York’s first breastfeeding boutique. Including data about paid maternity leave, hospital post-delivery policies, and workplace accommodations for nursing mothers, the film compares current US practices with standards adopted elsewhere. Tensions around public breastfeeding and "breast is best" promotion campaigns highlight society's perceived interest in regulating women's reproductive behavior, as well as the power of culture to assign sexual and moral meaning to mothers' bodies. Entertaining and insightful, Latching On is an important analysis of the politics of breastfeeding, illuminating the complexities behind a simple, natural act.

For Spaniards—and for the world—nothing has expressed their country’s traditionally rigid gender roles more powerfully than the image of the male matador. So sacred was the bullfighter’s masculinity to Spanish identity that a 1908 law barred women from the sport. Visually stunning and beautifully crafted, ELLA ES EL MATADOR (She is the Matador) reveals the surprising history of the women who made such a law necessary, and offers fascinating profiles of two female matadors currently in the arena, the acclaimed Maripaz Vega and neophyte Eva Florencia. These women are gender pioneers by necessity, confronting both bull and social code. But what emerges through this mesmerizing film is their truest motivation—a sheer passion for bullfighting, in the pursuit of a dream.

In a hip hop and R&B world dominated by men and noted for misogyny, the unstoppable female lyricists of SAY MY NAME speak candidly about class, race, and gender in pursuing their passions as female MCs. This worldwide documentary takes viewers on a vibrant tour of urban culture and musical movement, from hip hop’s birthplace in the Bronx, to grime on London’s Eastside, to Philly, Detroit, Chicago, Atlanta, and L.A., and points in between. Featuring interviews and musical performances from a diverse cast of women that includes Remy Ma, Rah Digga, Jean Grae, Erykah Badu, Estelle, as well as newcomers Chocolate Thai, Invincible and Miz Korona, this powerful documentary delves into the amazing personal stories of women balancing professional dreams with the stark realities of poor urban communities, race, sexism, and motherhood. The more than 18 artists featured in SAY MY NAME battle for a place in a society that creates few chances for women. From emerging artists filled with new creativity, to true pioneers like MC Lyte, Roxxanne Shante, and Monie Love, these are women turning adversity into art.

The Feminist Initiative reveals the passion, pitfalls and promise of a diverse group of women working to establish the world’s first feminist political party in Sweden in the spring of 2005. Even in one of the most gender-equal societies in the world, the advancement of women’s agenda within the patriarchal establishment requires a revolution. Beginning from the innovative and inclusive decision to elect three party leaders rather than one, the film charts every trail-blazing step (and misstep) of the Feminist Initiative (F!) from their energetic start to the climactic moments of their inspiring, celebrity-supported rally. In the face of internal discord, public backlash, and a worrisome lack of funds, the Feminist Initiative forges a new path towards parliament, raising critical questions along the way about what women really want from their government and about gender differences in leadership. This is an invaluable story about the struggle to have women’s voices heard in a patriarchal, modern society, and an amazing behind-the-scenes film about what women do with power, and what power can do to women.

THE MOSQUE IN MORGANTOWN follows one woman’s campaign for change against extremism in her West Virginia mosque, throwing the community into turmoil and raising questions that cut to the heart of American Islam. When former Wall Street Journal journalist and single mother Asra Q. Nomani returns from working in Pakistan to her hometown mosque in Morgantown, West Virginia, she believes she sees signs of trouble: exclusion of women, intolerance toward non-believers, and suspicion of the West. She finds such signs particularly alarming and determined to halt the ‘slippery slope’ that she maintains leads from Islamic intolerance to violence, she begins a campaign to drag the mosque’s practices into the 21st century, triggering a heated battle between tradition and modernity. Nomani’s activist tactics alienate would-be allies in the mosque, leading many to wonder who most deserves the label of “extremist.” Director Brittany Huckabee takes a balanced view of the tensions dividing this community, exploring both sides from a neutral standpoint. This riveting Emmy® Award nominated film is not only about women’s rights in the mosque but about the struggles of a Muslim community faces as it strives to be a part of American life.

In no other country has sexual violence matched the scale of brutality reached in the Democratic Republic of Congo (DRC). During nearly two decades of conflicts between rebels and government forces, an estimated 150,000 Congolese women and girls fell victim to mass rape. That figure continues to rise. WEAPON OF WAR, an award-winning film honored by Amnesty International, journeys to the heart of this crisis, where we meet its perpetrators. In personal interviews, soldiers and former combatants provide openhearted but shocking testimony about rape in the DRC. Despite differing views on causes or criminal status, all reveal how years of conflict, as well as discrimination against women, have normalized brutal sexual violence. We also see former rapists struggling to change their own or others’ behavior, and reintegrate into their communities. A companion to FIGHTING THE SILENCE and its portraits of Congolese rape survivors, this indispensable resource provides unique insights into strategic uses of rape as a military weapon - and the motives of the men who employ it.

“No person in the United States shall, on the basis of sex, be excluded from participation in, be denied benefits of, or be subjected to discrimination under any education program or activity receiving Federal financial assistance.” In June of 1972, Congress passed a piece of legislation called Title IX of the Education Amendments, to provide educational access and opportunity for women and young girls throughout the United States. Although most closely associated with sports, no other piece of legislation since the 19th Amendment has been more crucial to opening doors and creating leadership opportunities for women in all arenas including education, science, math, finance, entertainment, the arts, business, law, and politics. License to Thrive: Title IX at 35 is a smart and highly-entertaining exploration of the unique history of the Title IX legislation and its critical role over the past 35 years in creating female leaders. From the classroom to the boardroom to the courtroom to the green room to the locker room, women are making their mark via the impact of Title IX.

Fearless, feisty and resolute, the “Rough Aunties” are a remarkable group of women unwavering in their stand to protect and care for the abused, neglected and forgotten children of Durban, South Africa. This documentary by internationally acclaimed director Kim Longinotto (SISTERS IN LAW, DIVORCE IRANIAN STYLE) follows the outspoken, multiracial cadre of Thuli, Mildred, Sdudla, Eureka and Jackie, as they wage a daily battle against systemic apathy, corruption, and greed to help the most vulnerable and disenfranchised of their communities. Despite the harsh realities of violence, poverty, and racism in the women’s work at the Bobbi Bear child welfare organization and in the heartaches of their personal lives, the portraits that emerge on screen are filled with grace, wisdom, friendship, and a deeply stirring conviction. Neither politics, nor social or racial divisions stand a chance against the united force of the women. Once again Longinotto has managed to bring us an intimate portrait of change from Africa, this time from post-apartheid South Africa, a nation being transformed with hope and energy into a new democracy.

Featuring more than 50 camerawomen from around the world, SHOOTING WOMEN, by pioneering filmmaker and cinema studies professor Alexis Krasilovsky, celebrates the amazing talent and unflinching spirit of image-making women from the sets of Hollywood and Bollywood to the war zones of Afghanistan.

The Democratic Republic of the Congo’s seven year war was the deadliest ever recorded in Africa. During that time, more than 80,000 women and girls were raped. Only now that the country is formally at peace are the consequences of the brutality becoming truly visible. Rape is slowly seeping into everyday life. FIGHTING THE SILENCE tells the story of ordinary Congolese women and men that are struggling to change their society: one that prefers to blame victims rather than prosecute rapists. Rape survivors and their families speak out openly about the suffering they endured because their culture considers women second class citizens and rape a taboo. They give voice to thousands of other survivors and their families who have chosen to hide their grief and remain silent for fear of being rejected by their families and community. Girls and women survivors tell of the brutality they experienced. Married couples openly talk about the pain they endure. Husbands talk of the pressures that led them to abandon their wives and why they agreed to take them back. A father explains why he has given up on his daughter’s future and how he wishes he could afford to take her rapist to court. Soldiers and policemen share their (shocking) views about why rape continues to flourish despite the war having officially ended four years ago.

From Nahid Persson, the filmmaker of the award-winning Prostitution Behind the Veil, comes an intimate portrait of a polygamist family in a rural Iranian village. Persson reveals the intricacies of the relationships between the four wives, their husband, their astoundingly free-spoken mother-in-law and their numerous children. Sometimes humorous and often heartbreaking, this film follows the daily lives of the wives whose situation has turned them into both bitter rivals and co-conspirators against their abusive husband. Persson’s camera unobtrusively and beautifully captures the range of the family’s interactions – from peaceful, pastoral scenes of a family picnic, to the temporary chaos caused by a broken faucet in the kitchen, to a furtive, whispered conversation between two wives about the latest beating. The women’s work – making bread, weaving carpets, milking and herding the sheep – provide the background to their frank conversations. Avoiding sensationalism and sentimentality, this film provides unique insights into the practice of polygamy and its effect on the women involved.

Following 26-year-old Madison during a crucial three years of her gender transition, GIRL INSIDE offers a window into the emotional, intellectual and spiritual journey of self-discovery that is as important as – if not more than – the physical experience of taking hormones and undergoing surgery. Vivien, Madison’s glamorous 80-year-old grandmother, who has taken on the job of advising her on all things feminine, is also featured. While Vivien's attempts to school Madison in old-fashioned codes of fashion and behavior are often hilarious, the juxtaposition of two vastly different experiences of womanhood, from very different generations, cause viewers to contemplate about the nature of gender, femininity and sexuality. Sometimes funny, sometimes painful, this heartwarming coming of age story is both an intimate portrait and a thoughtful exploration of what it means to be a woman. Recommended for courses in transgender and queer studies, gender studies, women’s studies and sociology.

Harrowing at one moment and heartwarming the next, HOLD ME TIGHT, LET ME GO is set at England’s Mulberry Bush School, founded by Barbara Dockar-Drysdale who developed unique methods for working with children suffering through severe emotional trauma. “Longinotto, director of award-winning SISTERS IN LAW, spent a year filming these children, who are prone to sudden, violent outbursts, and their teachers, who display enormous restraint and sensitivity. The children’s problems are real, deep and stubborn — but the long arc of recovery is clear, with hope for these troubled children just over the horizon. Over the course of 30 years, Longinotto has established herself as one of the most prolific and perceptive practitioners of cinema verité. Here, she and her steady, unobtrusive camera capture an intimate and unforgettable tale of the human capacity to hurt and to heal.” – Jason Silverman, True/False Film Festival

MISS GULAG is a rare look at the lives of the first generation of women to come of age in post-Soviet Russia, where women’s unemployment and incarceration rates are very high. Shot inside a Siberian prison camp and the surrounding countryside, this absorbing documentary traces the individual paths of three young women now at different points in their lives: Tatiana, whose parole hearing and early release are captured on film; Natasha, living in freedom with her family in a remote village; and Yulia, not yet twenty and facing still more prison time. Like their individual circumstances, the shared experience of long jail sentences has made them vigilant about their own destinies. Incarceration and an environment of constant surveillance are harsh, but no less so than life outside. Yet all three women, their families, and loved ones are sustained by hope. Discovering an Internet item about an annual beauty pageant staged by women inmates of UF91-9, director Maria Yatskova (born in Moscow and living in the US since the age of five) was inspired to make MISS GULAG. The film’s compelling, moving stories of survival shed light on democracy’s darker side and offer a look at the issues facing women in post Soviet Russia.

This fascinating documentary is an exceedingly rare, inside look at an organization that most of the world has blacklisted as a terrorist group. Made by the first foreign film crew to be given access to the Tamil Tigers (LTTE) of Sri Lanka, the film offers important insights into the recently re-ignited conflict in Sri Lanka. Twenty-four-year-olds Dharsika and Puhalchudar have been living and fighting side-by-side for seven years as part of LTTE’s elite force, the Black Tigers. Their story is told through cinema verité footage, newsreel footage, and interviews with the women and Dharsika’s mother. The women describe heartbreaking traumas they both experienced at the hands of the Sri Lankan army, which led them to join the guerrilla forces. As they discuss their readiness to become suicide bombers and their abiding loyalty to the unnamed “Leader” – who they are sure would never harm civilians – grisly images of past LTTE suicide bombings provide somber counterpoints. Their curiously flat affects raise the possibility that they have been brainwashed. This even-handed documentary sheds light on the reasons that the Tamil Tigers continue their bloody struggle for independence while questioning their tactics.

Winner of the Sundance Special Jury Prize in Documentary and the inspiration for a 2008 U.N. Resolution classifying rape as a weapon of war, this extraordinary film, shot in the war zones of the Democratic Republic of Congo (DRC), shatters the silence that surrounds the use of sexual violence as a weapon of conflict. Many tens of thousands of women and girls have been systematically kidnapped, raped, mutilated and tortured by soldiers from both foreign militias and the Congolese army. A survivor of gang rape herself, Emmy Award®-winning filmmaker Lisa F. Jackson travels through the DRC to understand what is happening and why. Produced in association with HBO Documentary Films and the Fledgling Fund, this film features interviews with activists, peacekeepers, physicians, and even-chillingly-the indifferent rapists who are soldiers of the Congolese Army. Harrowing moments of the film come as dozens of survivors recount their stories with an honesty and immediacy that is pulverizing in its intimacy and detail, but this powerful film also provides inspiring examples of resiliency, resistance, courage and grace. **Emmy Award Nominee for Outstanding Informational Programming: Long Form and Outstanding Individual Achievement in a Craft: Writing**

On March 18, 2005, Amina Wadud shocked the Islamic world by leading a mixed-gender Friday prayer congregation in New York. THE NOBLE STRUGGLE OF AMINA WADUD is a fascinating and powerful portrait of this African-American Muslim woman who soon found herself the subject of much debate and Muslim juristic discourse. In defying 1400 years of Islamic tradition, her action caused global awareness of the struggle for women’s rights within Islam but also brought violence and death threats against her. Filmmaker Safari follows this women’s rights activist and scholar around the world as she quietly but with utter conviction explains her analysis of Islam in the classroom, at conferences, in her home, and in the hair dresser’s shop. Wadud explains how Islam, with its promise of justice, appeals to the African American community. And she links the struggle for racial justice with the need for gender equality in Islam. Deeply engaging, this film offers rare insights into the powerful connections between Islam, women’s rights, and racial justice.

This stunning visual masterpiece is an exuberant testament to the resolve of women of the ’60s and ’70s sexual revolution and feminist movement in Italy. Acclaimed director Alina Marazzi takes viewers on a gorgeous storytelling journey through archival footage, advertisements, and colorful images juxtaposed with the true-life struggles and first person narrations of three diverse Italian women: Anita, who is struggling with an oppressive father and the strict rules of her Catholic faith; Teresa, who must resort to a heartbreaking illicit abortion; and Valentina, a militant feminist caught between love and her commitment to the movement. The feminist slogan “We want bread, but we want roses too,” was first chanted by thousands of striking female textile workers in Massachusetts in 1912. Marazzi’s vibrant film is a celebration of women who fought for a world where both the essentials of bread and the poetry of roses have a place. The artistic and educational, personal and political converge beautifully in this fascinating film that transcends time and culture to reveal many of the universal struggles and inspirations of women’s equality.

BELFAST GIRLS is a quiet, powerful story of two young women growing up in a city where neighbors are cut off from each other by permanent concrete and corrugated iron screens. These so-called “peace walls” have also become mental walls, dividing one community from another. Living in different worlds within the same city, Mairéad Mc Ilkenny and Christine Savage share the legacy of 30 years of conflict in Northern Ireland. With insightful clarity, Swedish director Malin Andersson reveals how, in their daily struggles and triumphs, these two strong women have more in common with each other than they have differences. For 20-year-old Catholic Mairéad, childhood memories of brutal arrests of her father at night and a constant fear for her life mix with wonderings what the “other side” looks like. She has never gotten to know a Protestant in her entire life – until the day her flatmate starts a new relationship. Suddenly “the other side” has moved into her house. Christine is Protestant and walks on the other side of the wall, dreaming about a house of her own and a boy to love. When she finally finds him, he’s a Catholic. Both girls find the courage to defy the legacy of separation handed down to them, creating a more hopeful future for themselves.

BLACK AND WHITE is one of the early films to shine a sensitive light on the experiences of intersex people. This beautiful and stylish film artfully explores the potent creative collaboration between Mani Bruce Mitchell and the acclaimed photographer Rebecca Swan. Portrayed through this lens, Mitchell’s story introduces viewers to notions of fluid gender identity, challenging rigid and binary categories. Mitchell was assigned male at birth, but when investigative surgery subsequently revealed that she had ovaries, she was renamed “Ruth” and reassigned the gender “female.” BLACK AND WHITE picks up on Mitchell’s story in 2005, weaving together her unflinching yet unexpectedly humorous insights, along with Swan’s descriptions of their creative collaboration on a book about gender identity. Documenting Mitchell's bold expression of her own intersex identity through the medium of art, the film portrays Mitchell with fullness and sensitivity. Combining intimate, present-day interviews with rich archival slides, photographs and film footage, as well as playful fragments of Super-8 stop-motion animation, BLACK AND WHITE is a stunning tribute to Mitchell’s courage and fierce commitment to change.

"In September 2005, Afghanistan held its first parliamentary elections in 35 years. Among the candidates for 249 assembly seats was Malalai Joya, a courageous, controversial 27-year-old woman who had ignited outrage among hard-liners when she spoke out against corrupt warlords at the Grand Council of tribal elders in 2003. ENEMIES OF HAPPINESS is a revelatory portrait of this extraordinary freedom fighter and the way she won the hearts of voters, as well as a snapshot of life and politics in war-torn Afghanistan. Amidst vivid, poetic images of Joya's dusty Farah Province, the film tracks the final weeks of her campaign, when death threats restrict her movements. But the parade of trusting constituents arriving on her doorstep leaves no doubt that Joya is a popular hero. Among her visitors is a 100-year-old woman who treks two hours to offer loyalty and herbal medicine. King Solomon-style, Joya acts as folk mediator and advocate, adjudicating between a wife and her violent, drug-addicted husband and counseling a family forced to marry off their adolescent daughter to a much older man. Protected by armed guards, Joya heads to poor rural areas to address crowds of women, pledging to be their voice and ‘expose the enemies of peace, women, and democracy.’ In the presence of her fierce tenacity, we can imagine the future of an enlightened nation.” - Caroline Libresco, Sundance Film Festival

MY HOME – YOUR WAR offers an extraordinary look at the effect of the Iraq war through the eyes of an ordinary Iraqi woman. Shot in Baghdad over three years that span the time before, during and after the invasion of Iraq, this profoundly moving film brings a perspective that – until now – has rarely been available to U.S. audiences. This film combines insightful interviews with Layla Hassan and her family, vibrant scenes of Baghdad and intimate footage shot by Layla herself to paint a compelling picture of how the war has affected average Iraqis. As Islamic fundamentalism takes hold in the chaos of Baghdad, her shy teenage son turns to militancy, her once-progressive sister dons the veil, and whatever freedom Layla once had under Saddam Hussein’s secular rule is steadily being eroded. While facts about the Iraq war garner much U.S. media attention, My Home – Your War is a deeply compelling account of something seldom discussed: how the Iraq war has created a situation where the rise of fundamentalism is putting women’s rights increasingly at risk.

Keepers of one of the last matriarchal societies in the world, Mosuo women in a remote area of southwest China live beyond the strictures of mainstream Chinese culture – enjoying great freedoms and carrying heavy responsibilities. Beautifully shot and featuring intimate interviews, this short documentary offers a rare glimpse into a society virtually unheard of 10 years ago and now often misrepresented in the media. Mosuo women control their own finances and do not marry or live with partners; they practice what they call "walking marriage." A man may be invited into a woman’s hut to spend a "sweet night," but must leave by daybreak. While tourism has brought wealth and 21st century conveniences to this remote area, it has also introduced difficult challenges to the Mosuo culture – from pollution in the lake, to the establishment of brothels, to mainstream ideas about women, beauty and family. This finely wrought film is a sensitive portrayal of extraordinary women struggling to hold on to their extraordinary society.

Screened to audiences at the Cannes, Toronto, and New York film festivals, this fresh, irresistibly lively, intensely engaging documentary from widely acclaimed Egyptian director Tahani Rached (SORAÏDA, WOMAN OF PALESTINE and FOUR WOMEN OF EGYPT) follows a band of teenage girls living on the streets of Cairo. Rached won astonishing access to the girls’ world; this vigorous, cinematic film is built upon the deep trust of its subjects and the long experience of the filmmaker. Already at a disadvantage as impoverished and abused girls in a Muslim society, they encounter rape, drug addiction, prostitution, pregnancy and motherhood on the streets. While the girls’ troubles are not downplayed, neither are their courage, playfulness and vibrant camaraderie. Rached brings alive the pulse of Cairo’s streets, offering an unsentimental portrait that avoids traps of guilt or cheap pity. What stands out is the strength and sheer joy that these girls project. With deft skill Rached reveals an invisible world and offers a loving homage to the inspirational, fierce girls who inhabit it.

Inspired by organizers at the Beijing Conference on Women in 1995, former construction worker Vivian Price spent years documenting the current and historical roles of women in the construction industry in Asia – discovering several startling facts. Capturing footage that shatters any stereotypes of delicate, submissive Asian women, Price discovers that women in many parts of Asia have been doing construction labor for centuries. But conversations with these women show that development and the resulting mechanization are pushing them out of the industry. Their stories disturb the notion of “progress” that many people hold and show how globalization, modernization, education and technology don’t always result in gender equality and the alleviation of poverty. Celebrating a range of women workers – from a Japanese truck driver, to two young Pakistani women working on a construction site in Lahore, to a Taiwanese woman doing concrete work alongside her husband – this film deftly probes the connections in their experiences. In a segment exploring the history of the Samsui women in Singapore (Chinese women who were recruited as construction laborers in the 1920's until they lost their jobs to mechanization in the 1970’s) unique archival footage and interviews with surviving Samsui offer an importation perspective on the historical and global scope of women workers’ struggles.

Nearly a decade in the making, this refreshingly honest film documents the challenges and desires of a group of young women in New Orleans by letting them film their own stories. As this diverse group of young women - two teenagers from the Desire housing projects, a single mother from the working-class suburb of Belle Chase across the river, and two girls from the most prestigious private high school in New Orleans—make short films about their own desires, this provocative film records the intimate dramas of their changing lives. Sensitively and intelligently interweaving the girls' short films throughout the film’s narrative, DESIRE pivots around the intimacy and risk that the two generations of filmmakers share together and with the audience. Addressing everything from sex and contraception to the impact of educational and material opportunities on their futures as women, DESIRE presents a nuanced and authentic look at modern young womanhood.

Why is it that some young, independent, progressive women in today's society feel uncomfortable identifying with the F-word? Join filmmaker Therese Shechter as she takes a funny, moving and very personal journey into the heart of feminism. Armed with a video camera and an irreverent sense of humor, Shechter talks with feminist superstars, rowdy frat boys, liberated Cosmo girls and Radical Cheerleaders, all in her quest to find out whether feminism can still be a source of personal and political power. In this enlightening documentary, screened worldwide, Shechter hunts down the answers to questions many women are grappling with about their roles and identities in today’s society: Is feminism dead, hibernating, or trapped below the radar? Have the goals of the ‘70s been accomplished or have feminism’s opponents appropriated and denigrated the movement beyond all recognition? If so, how did this happen? Do you have to be political to be a feminist? And do you even have to be female? With home movies clips of Shechter as a budding feminist, archival materials from old health classes, and music by Ani DiFranco, Lavababy, Gina Young, Moxie Starpark and the legendary Helen Reddy, I WAS A TEENAGE FEMINIST redefines the F-Word for a new generation.

Domestic violence in all forms—from physical abuse to forced marriages to honour killings—continues to be frighteningly common worldwide and accepted as “normal” within too many societies. Getting to the heart of current multicultural debates, LOVE, HONOUR, & DISOBEY reveals the issues around domestic violence in Britain’s black and ethnic minority communities through the eyes of the Southall Black Sisters, a small group of women who have been working to combat abuse for more than 25 years. This powerful documentary combines chilling testimony from those abused with a forceful analysis of the issues that make domestic violence an even more difficult experience for minority women, who generally wait longer to report abuse and seek help. Also astutely examined are the roles of culturally sensitive policing, religious fundamentalism and the attitudes of minority communities themselves in continuing to endanger the lives of many women. This important film is essential viewing for those who wish to further their understanding of domestic violence within ethnic minority communities, including teachers, social workers, police, lawyers, health workers and other professionals working in this realm.

In this insightful documentary, filmmaker Sonali Gulati explores complex issues of globalization, capitalism and identity through a witty and personal account of her journey into India’s call centers. Gulati, herself an Indian immigrant living in the US, explores the fascinating ramifications of outsourcing telephone service jobs to India—including how native telemarketers take on Western names and accents to take calls from the US, UK and Australia. A fresh juxtaposition of animation, archival footage, live action shots and narrative work highlight the filmmaker’s presence and reveal the performative aspects of her subjects. With fascinating observations on how call centers affect the Indian culture and economy, NALINI BY DAY, NANCY BY NIGHT raises important questions about the complicated consequences of globalization.

Why would a woman in one of the most liberal Western European countries choose to become a Muslim and faithfully follow the demands of her new conviction – including wearing the veil? This eye-opening film follows the lives of three women dealing with the consequences of their choice to convert to Islam. Rather than pressing the women for the reasons behind their choice, director Merel Beernink takes a close look at their day-to-day lives, letting them speak candidly about how they feel in their new cultural and religious context. Issues of marriage and relationships loom large for all three women. Astrid, who had a brief but unhappy arranged marriage, is now living with her parents and looking for a husband. Inge is considering a move to Cairo to marry her Egyptian fiancé. Rabia is married to a Muslim man and struggling with matters such as polygamy and homosexuality. Their perspectives are complemented by revealing and often touching interviews with their parents. Capturing these women’s struggle to reconcile the expectations of their families and friends with the demands of their new conviction, Beernink’s intimate portraits offer fascinating insight into the choices made by these women to lead a different kind of life.

Essential viewing for students, educators, counselors, policy makers and parents, THE GENDER CHIP PROJECT is being hailed as an important resource for addressing the disparity of representation of women in the science, technology, engineering and math (STEM) fields. Although women comprise the majority of undergraduates in America, only 20 percent are earning degrees in engineering and computer science. With statistics like these—and controversies such as the firestorm created when a prominent university president suggested women lack innate abilities in math and science—it’s clear that the road to success in the high-stakes STEM professions is not an easy one for young women. THE GENDER CHIP PROJECT illustrates this challenge as it follows five extraordinary women majoring in the sciences, engineering and math at Ohio State University. Meeting regularly throughout their four years of school, they create a community to share their experiences and struggles as women stepping into traditionally male domains, and find support in dialog with their female professors. Now chaptered for easier use, the DVD shows how these extraordinary students are finding their own way to navigate and succeed in these male-dominated areas of study.

When award-winning Korean-American filmmaker Grace Lee was growing up in Missouri, she was the only Grace Lee she knew. As an adult, however, she moved to New York and then California, where everyone she met seemed to know "another Grace Lee." But why did they assume that all Grace Lees were nice, dutiful, piano-playing bookworms? Pursuing the moving target of Asian American female identity, the filmmaker plunges into a clever, highly unscientific investigation of all those Grace Lees who break the mold, including the fiery social activist Grace Lee Boggs, the rebel Grace Lee who tried to burn down her high school, and the Silicon Valley teenager Grace Lee who spends evenings doing homework, playing piano, and painting graphic pictures of death and destruction. This refreshing film reveals the intriguing contradiction of the “Grace Lee” persona—simultaneously impressive and forgettable, special and generic, an emblem of a subculture and an individual who defies categorization. With wit and charm, THE GRACE LEE PROJECT challenges the cultural investments made in the idea of Grace Lee, all the while sending her a love letter.

Their mothers may be convicted thieves, murderers and drug dealers, but the girls of Troop 1500 want to be doctors, social workers and marine biologists. With meetings once a month at Hilltop Prison in Gatesville, Texas, this innovative Girl Scout program brings daughters together with their inmate mothers, offering them a chance to rebuild their broken relationships. Intimately involved with the troop for several years, the directors took their cameras far beyond meetings to explore the painful context of broken families. Powerful insight comes from interviews shot by the girls themselves, which reveal their conflicted feelings of anger and joy, abandonment and intimacy—as well as the deep influence their mothers still have on them. An estimated 1.5 million children have incarcerated parents and 90 percent of female inmates are single parents. Their daughters are six times more likely to land in the juvenile justice system. TROOP 1500 poignantly reveals how an inspired yet controversial effort by the more than 90-year old Girl Scouts organization is working to help these at-risk young girls deal with their unique circumstances and break the cycle of crime within families.

Uncovering amazing stories of hope in the aftermath of the Rwandan genocide, Emmy Winner for Best Documentary and Academy Award Nominee for Best Documentary Short, GOD SLEEPS IN RWANDA captures the spirit of five courageous women as they rebuild their lives, redefine women’s roles in Rwandan society and bring hope to a wounded nation. The 1994 Rwandan Genocide left the country nearly 70 percent female, handing Rwanda’s women an extraordinary burden and an unprecedented opportunity. Ten years later, girls were attending school in record numbers, and women were a large part of the country’s leadership. Working with two cameras and no crew except for their translator—a genocide survivor herself—the filmmakers uncover incredible stories: an HIV-positive policewoman raising four children alone and attending night school to become a lawyer, a teenager who has become head of household for her four siblings, and a young woman orphaned in her teens who is now the top development official in her area. Heart-wrenching and inspiring, this powerful film is a brutal reminder of the consequences of the Rwandan tragedy, and a tribute to the strength and spirit of those who are moving forth.

This wry and delightful found-footage film reveals a little-known chapter in labor history: the story of female telephone operators’ central place in the development of global communications. With an eye for the quirky and humorous, Caroline Martel assembles a dazzling array of clips – more than one hundred remarkable, rarely seen industrial, advertising and scientific management films produced in North America between 1903 and 1989 by Bell and Western Electric – and transforms them into a dreamlike montage documentary. As the first agents of globalization, this invisible army of women offered a way for companies to feminize and glamorize what was a highly stressful, underpaid and difficult job. Not merely "Voices with a Smile," telephone operators were shooting stars in a universe of infinite progress, test pilots for new management systems, and the face of shrewd public relations campaigns. As the work of operators has been eclipsed by the advent of automated systems, this artful piece of labor history also offers an insightful comment on women’s work, industrialization and communications technology. Refreshing and hilarious, THE PHANTOM OF THE OPERATOR provides a wry yet ethereal portrait of human society in the technocratic age.

Are tomboys tamed once they grow up? This lively and inspiring documentary explodes that archaic myth with the stories of proud tomboys of all ages: African-American teenager Jay Gillespie; Massachusetts firefighter Tracy Driscoll, lesbian artist Nancy Brooks Brody and the inimitable political activist Doris Haddock, aka “Granny D”, whose walk across America in support of campaign finance reform has gained global attention. Interviews with these feisty women are intercut with personal photographs and archival footage to celebrate tomboys of all ages. Exploring the myriad ways gender identity is constructed from a very young age, TOMBOYS makes the connections between rebel girl and spirited women gloriously clear. With additional commentary by girls’ studies pioneer Carol Gilligan, these tales of energy and enterprise are a revelation to us all.

Academy Award Nominee for Best Documentary Short, FERRY TALES exposes a secret world that exists in the powder room of the Staten Island Ferry.

In the days before movies could talk, silent films spoke clearly of sexual politics, and in Suffragettes in the Silent Cinema, historian and writer Kay Sloan has assembled rare and wonderful footage that opens a historic window onto how women’s suffrage was represented in early American cinema. Taking advantage of the powerful new medium, early filmmakers on both sides of the contentious issue of suffrage used film to create powerful propaganda and images about women. Suffragettes in the Silent Cinema contains clips from many films from the era, including: A Lively Affair (1912); A Busy Day (1914), which stars a young Charlie Chaplin in drag portraying a suffragist; and the pro-suffragist film, What 80 Million Women Want (1913), which includes an eloquent speech from president of the Women’s Political Union, Harriet Stanton Blatch. Silent films may have passed into history, and their representations of feminists abandoning babies or stealing bicycles to attend suffragette meetings may now seem outrageous, but the struggle for gender equality and the issues surrounding representations of women in the media remain as fascinating, engaging, and relevant as ever.

There are over 800,000 students enrolled in migrant education programs in the United States and, of those, only 45-50% ever finish high school. ESCUELA, the sequel to Hannah Weyer’s critically acclaimed documentary LA BODA, personalizes these glaring statistics through the honest portrait of a teenage Mexican-American farm worker, Liliana Luis. ESCUELA is a clear-eyed view into the lives of contemporary Mexican American migrants and their struggles to educate their children while obtaining employment. Centered around the life of Liliana, a daughter entering her first year of high school, Hannah Weyer follows the back-and-forth movement of the family between their home in Texas near the borderlands and the California agricultural fields. Despite the best efforts of the school systems to accommodate students like Liliana, the social and emotional life of this young woman is constantly in flux. This is an important work revealing the difficulties of girl life on the border in a way that no textbook could. - Joe Austin, Popular Culture Studies, Bowling Green University

Jennifer Dworkin’s groundbreaking documentary LOVE & DIANE presents a searingly honest and moving examination of poverty, welfare and drug rehabilitation in the United States today. Filmed in New York City over a five-year period, Dworkin documents the struggles of three generations of the Hazzard family as they face a myriad of emotional, financial and personal challenges. LOVE & DIANE is at its heart a highly charged story about a mother and daughter searching for love, redemption and hope for a new future. While caught in a devastating cycle of teen pregnancy and the bureaucracy of an over burdened welfare system, they demonstrate an inspiring resiliency and ability to find strength during the most desperate times. Without falling into stereotypes of welfare and poverty, LOVE & DIANE casts a fair, non-judgmental eye on the Hazzard’s and presents a forgotten, but very real, side of the American experience. This film is a presentation of the Independent Television Service (ITVS) with funding provided by the Corporation for Public Broadcasting (CPB).

MAGGIE GROWLS is a portrait of the amazing, canny, lusty, charming and unstoppable Maggie Kuhn (1905-1995), who founded the Gray Panthers (the nation’s leading progressive senior advocacy organization) in 1970 after being forced to retire from a job she loved at the age of 65. Her outrage and determination fueled a political chain reaction that forever changed the lives of older Americans, repealing mandatory retirement laws and proving that “old” is not a dirty word. Out of what Ralph Nader called “the most significant retirement in modern American history,” Maggie created one of the most potent social movements of the century – one that was committed to justice, peace and fairness to all, regardless of age. Her defiant “panther growl” and dramatic slogan “Do something outrageous every day” launched nothing less than a contemporary cultural revolution, both in terms of redefining the meaning of age and through her insistence on “young and old together.” "Maggie Growls" looks at the forces that shaped the movement as well as its leader, using Maggie’s life as a lens through which to examine the intertwined issues of social reform and aging in America. This inspiring documentary is an important addition to courses in American Studies, History, Women’s Studies, Gerontology and Sociology. This film is a presentation of the Independent Television Service (ITVS) with funding provided by the Corporation for Public Broadcasting (CPB).

Tracking the country’s oldest beauty contest—from its inception in 1921 as a local seaside pageant to its heyday as one of the country’s most popular events—MISS AMERICA paints a vivid picture of an institution that has come to reveal much about a changing nation. The pageant is about commercialism and sexual politics, about big business and small towns. But beyond the symbolism lies a human story—at once moving, inspiring, infuriating, funny, and poignant. Combining rare archival footage, with a host of intimate interviews with distinguished commentators including Gloria Steinem, Margaret Cho, Isaac Mizrahi, former contestants and behind–the–scenes footage and photographs, the film reveals why some women took part in the fledgling event and why others briefly rejected it - how the pageant became a battle ground and a barometer for the changing position of women in society.

THE DAY I WILL NEVER FORGET is a gripping feature documentary by acclaimed filmmaker Kim Longinotto that examines the practice of female genital mutilation in Kenya and the pioneering African women who are bravely reversing the tradition. In this epic work, women speak candidly about the practice and explain its cultural significance within Kenyan society. From gripping testimonials by young women who share the painful aftermath of their trauma to interviews with elderly matriarchs who stubbornly stand behind the practice, Longinotto paints a complex portrait of the current polemics and conflicts that have allowed this procedure to exist well into modern times. Demystifying the African tradition of female circumcision, Longinotto presents Nurse Fardhosa, a woman who is single-handedly reversing the ritual of female circumcision one village at a time by educating communities about its lasting emotional and physical scars. Also profiled are an inspiring group of runaway girls who are seeking a court injunction to stop their parents from forcing them to go through with the practice. Through their words the full implications of breaking with tradition are made clear, as is the incredible courage of the women and girls who risk social ostracism by taking a stand against the practice.

BETWEEN THE LINES offers rare interviews with over 15 major Asian-Pacific American women poets. Organized in interwoven sections such as Immigration, Language, Family, Memory, and Spirituality, it is a sophisticated merging of Asian-American history and identity with the questions of performance, voice, and image. This engaging documentary serves as poetry reading, virtual anthology, and, perhaps most importantly, moving testimony about gender, ethnicity, aesthetics, and creative choice. The carefully edited interviews and poems read reflect the filmmaker's desire to show both individual voice and diversity within the Asian-American women’s community. Theoretically as rich as the images and poems provided, there is also an implicit conversation in the film about the possibility and usefulness of an Asian-American women’s aesthetic/poetic. Using carefully selected archival images, historical footage, and brilliant photography as the scrim through which we hear the poets, BETWEEN THE LINES provides important and lively viewing for literature, history, ethnic and women’s studies classes.” - Joseph Boles, Visiting Scholar, Center for Visual Culture, Bryn Mawr

Screened to acclaim at Gay & Lesbian Film Festivals worldwide and LBGT events across the nation, this candid and courageous portrait of more than 15-months in the female-to-male (FTM) transition of Jay Snider explores both the emotional and physical changes of this profound experience--beginning prior to hormones and concluding after top surgery. Footage shot before and after the surgery captures dramatic physical transitions, while intimate interviews with Jay, his ex-husband, his best friend and his lesbian-identified partner aptly capture the emotional and psychological shifts that occur during the process. With support from those closest to him, Jay’s experience is remarkably positive, though not without conflict. During the course of the film, he renews long-distant ties with his brother, but also faces permanent estrangement from his parents. SIR is an in-depth and humanizing exploration of the challenges, discrimination, and alienation faced by transgender and gender expansive individuals. Jay’s conflicted feelings around queer identification are portrayed along with his significant other’s continued identification as lesbian. A much-needed look at FTM transition, the film demonstrates both the fluidity of sexual identification and that love and human resilience can triumph over deep-rooted differences.

SOME REAL HEAT explores the small and relatively new world of female firefighters in San Francisco and their upward climb to gain access to a male-dominated field. Armed with axes, chainsaws, muscle, heart and determination, six daring women demonstrate how they single-handedly turn gender roles upside down by putting their lives on the line everyday in one of the riskiest jobs around. As they passionately talk about the tools of the trade, overcoming their fears and helping others, they reveal the fascinating history of women fire fighters and the gender bias that barred them from officially entering the U.S. Fire Department until 1974. They also explain the important role women paramedics play in fire departments and the surprising number of medical emergencies that they attend to on a weekly basis – a number that far outweighs actually putting out fires. Uncovering the myth and reality of this dangerous profession, this inspiring piece intimately delves into the strength and character that distinguishes these women as true modern-day heroes.

“The Louisiana Correctional Institute is located in the swamps of southern Louisiana in the small town of St. Gabriel. Built in 1970 to house an increasing population of female convicts, today it houses the state's most dangerous female prisoners and often exceeds its population capacity of 900. 75% of these are mothers and one fourth of them are serving sentences of fifteen years or more. The prison compound has a surreal quality; there are no searchlight-capped towers or barbed wire fences. Filmmaker Khadivi delivers a striking, sensitive portrait of life in this deceptively peaceful atmosphere, which is filled with stories of life on the streets, abuse, freedom, childbirth and motherhood. Six women - a grandmother, a young high school student, a pregnant woman, a recovering heroin addict, a prison guard, and the only woman on death row - were brave enough to share their frustrations and hopes. Produced by Academy Award-nominated filmmaker Jonathan Stack ("The Farm").” - Human Rights Watch Film Festival Catalogue

Julie Wyman's compelling documentary chronicles Theo's transformation from a woman to a man over the course of six years. The film successfully captures Theo's physiological and psychological changes during the process, as well as their effects on his lesbian lover and community of close friends. Taking full advantage of the unlimited access she received into an extraordinarily personal process, Wyman carefully composes a moving story about gender identity, relationships, and how even things that seem permanent can change. "A BOY NAMED SUE is one of the best videos to date on female-to-male trans[gender] experience. Wyman spent six years taping Sue's transformation into Theo and then organized a huge archive of material into a moving, informative and smart rendering of what a difference sex reassignment surgeries can make not only to the transgender individuals but also to all those in their immediate circle. Theo is a great subject and Wyman is a talented and imaginative documentarian." Judith Halberstam, University of California, San Diego

Because murder by women is still relatively rare--only one out of eight murders in the United States is committed by a woman--women's own stories provide unique insights into the circumstances leading to these violent acts. In this absorbing documentary, intimate one-on-one interviews with six women murderers are combined with re-enactments of their background experience and visual re-creations of their interior lives. Sharing and reflecting on their memories, fantasies, dreams, and anger, the six women candidly describe their actions as perpetrators in detail and address the issue of having taken a life. Interspersed between their separate stories are their individual reflections on coping strategies, and life and relationships in prison. From the Academy and Emmy-award winning filmmakers responsible for DIALOGUES WITH MADWOMEN, BLIND SPOT is a provocative and riveting encounter with throw-away children, out-of-control adults, and the emotional, psychological and spiritual consequences of murder.

"This fascinating film follows the physically grueling and mentally exhausting training regimen of several young wanna-be GAEA GIRLS, a group of Japanese women wrestlers. The idea of them may seem like a total oxymoron in a country where women are usually regarded as docile and subservient. However, in training and in the arena, the female wrestlers depicted in this film are just as violent as any member of the World Wrestling Federation, and the blood that’s drawn is very real indeed. One recruit, Takeuchi, endures ritual humiliation not seen on screen since the boot camp sequences of FULL METAL JACKET. In DIVORCE IRANIAN STYLE, Kim Longinotto cinematically explored the previously unexplored world of the Tehran divorce courts. Working with co-director Jano Williams, Longinotto has been given access to shoot an insider’s verité account of this closely guarded universe." - Chicago Film Festival

An 18 minute explosion of fringe feminism and print media, The GRRLYSHOW is a powerful and rebellious message from new voices often left unheard. Filmmaker Kara Herold examines the girly Zine revolution and culture in such a way that the film intellectually and stylistically addresses anyone's question concerning whether or not feminism has reached it's 3rd wave: the postmodern. By interweaving head-shot interviews, clips from the zines and 1950's television-esque vignettes, Herold clearly illustrates feminism's ability to exist subversively within a system that generally doesn't give women their own voice . The GRRLYSHOW successfully brings to the surface alternative voices and projects that are vital to the continuation and expansion of feminism. An excellent film for mass communication, women's studies and pop culture courses. "A perky peek at the alternative media community where self-publishing gals are doin' it for themselves. Aware, irreverent, entertaining, even brilliant, these zine creators relish the irony that to speak in one's unique unfettered voice is to touch others more powerfully than with the traditional blanded-down mainstream mag approach. Viva the grrly zines!" Al Hoff, Pittsburgh City Paper & Creator, Thrift Score zine

In an intimate portrait of migrant life along the U.S.-Mexican border, Hannah Weyer’s new film LA BODA delves into the challenges faced by a community striving to maintain their roots in Mexico, while pursuing the “American Dream” across the border. Weyer’s camera follows Elizabeth Luis during the weeks before her marriage to Artemio Guerrero, interweaving the anticipation of the upcoming wedding with candid stories that explore the architecture of the Luis family. For 22-year-old Elizabeth, migrant life has meant shouldering responsibilities beyond those of an average young adult. Along with her seven siblings, she has contributed to the family income throughout her adolescence and young adulthood, often forced to sacrifice school for fieldwork and social life for travel as she and her family move between Texas, California and Mexico. LA BODA tells the timeless story of a young woman’s coming of age, while also confronting negative stereotypes of the migrant community with the real life biography of a Mexican-American family bridging the gap between countries and culture.

“Every once in a while someone comes up with a film that sends us a clear signal that it's time to re-evaluate our lives. The film MY LEFT BREAST is not just for women living with breast cancer--it's for everyone.” – Canadian Breast Cancer Foundation. Incorporating a unique blend of wit, wisdom and resilience, filmmaker Gerry Rogers bravely recounts her story of breast cancer survival to share with the world that life, indeed, can continue with full force and vigor. Shortly after being diagnosed at age 42, Rogers began to document her ordeal on camera in an attempt to confront her own questions and fears about breast cancer. Rather than present a somber and morose meditation on this difficult experience, she decides to invoke humor to frankly reflect on the meaning of this disease on her life, as well as on the lives of her friends and family. The result is a one-of-kind approach to positively coping with a potentially fatal disease. Rather than merely chronicling how one copes with an infirmity, MY LEFT BREAST serves as a model for overcoming every challenge and obstacle in life with clarity and honesty. In the same vein as the most highly regarded films on health, such as COMPLAINTS OF A DUTIFUL DAUGHTER, this powerful film intimately embraces the emotional challenges of disease, demonstrates acceptance and, above all, affirms life.

Available only as part of the series New Directions.

UPHILL ALL THE WAY is the astounding true story of five troubled teenage girls who face the challenge of their lives: a 2,500-mile bicycle journey along the United States Continental Divide. The girls are students at the DeSisto School, a rehabilitative high school in Massachusetts for drug addicts, victims of sexual abuse, and juveniles that have had run-ins with the law. Despite the emotional risks posed by their unstable backgrounds, they sign up for the bike trip as an opportunity to prove individually and collectively that they can reach once unfathomable heights. If finished, the trek will be the first time in their lives the girls have set a goal and met it. Over the course of three months, they mature in ways that are visible, thought provoking and completely unexpected. Rather than portray these girls as victims, UPHILL ALL THE WAY highlights their resilience and ability to persevere despite great emotional and physical barriers. Providing much-needed alternatives for young women to learn how to improve their self-esteem, this unique documentary is an inspiration for every viewer – both young and old – to accomplish great feats in their lives. Narrated by Susan Sarandon.

WOMEN ORGANIZE! is an inspirational, half hour film that portrays women organizers across the U.S. who are involved in the global struggles for racial, social, and economic justice. In this film, we meet five women organizers of various backgrounds, peek at the campaigns they wage, and watch as they begin to pick up the tools to document their own transformative work. From working with high schools girls in a low-income neighborhood in Oregon to speaking out for Black lesbians and gays against homophobia or working with Asian immigrant women factory workers in California for decent working conditions, WOMEN ORGANIZE is an important film that should be used in women’s and ethnic studies classes and community based organizations.

"Ursula Biemann’s WRITING DESIRE is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world. Although under-age Philippine 'pen pals' and post-Soviet mail-order brides have been part of the transnational exchange of sex in the post-colonial and post-Cold War marketplace of desire before the digital age, the Internet has accelerated these transactions. Biemann provides her viewers with a thoughtful meditation on the obvious political, economic and gender inequalities of these exchanges by simulating the gaze of the Internet shopper looking for the imagined docile, traditional, pre-feminist, but Web-savvy mate. WRITING DESIRE delights in implicating the viewer in the new voyeurism and sexual consumerism of the Web. However, it never fails to challenge pat assumptions about the impossibility for resistance and the absolute victimization of women who dare to venture out of the third world and onto the Internet to look for that very obscure object of desire promised by the men of the West. This film will promote lively discussion on third world women, the sex industry, mail order brides, racism and feminist backlashes in the West, and on women’s sexuality, desire, and new technologies." --Gina Marchetti, Ithaca College

Produced by Brenda Parkerson, GIRLS AROUND THE WORLD is a collection of six extraordinary documentaries that examine the hopes, dreams and worldviews of a diverse group of 17-year-old girls from across the globe. This multidimensional series provides a critical cross-cultural perspective into the lives of young women, the concerns they share and the difficult decisions they face as they transition into adulthood. A compelling snapshot of global girlhood, GIRLS AROUND THE WORLD introduces young American women to the social and economic reality that shapes, and sometimes limits, the goals of their counterparts in the world. ANNA FROM BENIN (Monique Phoba, Benin) One of 31 children, Anna struggles to remain a normal teen and still fulfill her family’s high expectations, after she accepts a prestigious scholarship to study music in France. DAUGHTERS OF WAR (Maria Barea, Peru) The effects of war, drugs and poverty on a generation of youth in Peru is seen through Gabriela, the leader of a girl gang and mother of a 7 month old daughter. HEAVEN AND EARTH (Pascale Schmidt, Germany) Unlike other teens, Ramona chooses to follow a religious path and leave behind the freedoms enjoyed by youth her age in modern-day Munich. FRONTIER (Kaija Jurikkala, Finland) On a small, isolated farm near the Russian border, Tarja is forced to make the painful decision to leave her childhood home in order to pursue greater opportunities. DON'T ASK WHY (Sabiha Sumar, Pakistan) Anousheh, a spirited and independent-minded Pakistani teen, attempts to realize her dreams while confronting the expectations of her religion and culture. NIGHT GIRL (Yingli Ma, China) *A striking picture of contemporary China, Night Girl presents the poignant story of Han Lin, a 17 year old prematurely made to enter into the workforce as a Go-Go dancer to help ease her family’s economic burdens. *May be inappropriate for audiences under 17.

NOBODY KNOWS MY NAME tells the story of women who are connected by their love for hip-hop music. Despite the fact that these talented female artists exist within a culture that revolves around self-expression, the subjects of Raimist’s documentary must struggle to be heard. Asia One has found a niche as an organizer of the B-Boy Summit, but longs for a sense of female community. DJ Symphony is the sole female member of the The World Famous Beat Junkies. Leaschea lives a turbulent life, even though she has been signed by a major label. Lisa married in the hip-hop lifestyle, and now raises a hip-hop family. Medusa is the successful queen of the L.A. hip-hop underground. T-Love, an ex-Cripette, hopes her creative talents will help her change her lifestyle. Through the candid study of these women, documentarian Raimist explores a fascinating and diverse feminist community, which yearns to find a place in a male-dominated subculture that is, in itself, marginalized. Ultimately, Raimist succeeds in empowering these self-actualized women by giving them the voice for which they struggle.

Refreshingly sophisticated in both form and content, BRINCANDO EL CHARCO contemplates the notion of “identity” through the experiences of a Puerto Rican woman living in the US. In a wonderful mix of fiction, archival footage, processed interviews and soap opera drama, BRINCANDO EL CHARCO tells the story of Claudia Marin, a middle-class, light-skinned Puerto Rican photographer/videographer who is attempting to construct a sense of community in the US. Confronting the simultaneity of both her privilege and her oppression, BRINCANDO EL CHARCO becomes a meditation on class, race and sexuality as shifting differences. BRINCANDO EL CHARCO was funded by the Independent Television Service (ITVS) with funds provided by the Corporation for Public Broadcasting.

With profound insight and a healthy dose of levity, COMPLAINTS OF A DUTIFUL DAUGHTER chronicles the various stages of a mother's Alzheimer's Disease and the evolution of a daughter's response to the illness. The desire to cure the incurable-to set right her mother's confusion and forgetfulness, to temper her mother's obsessiveness-gives way to an acceptance which is finally liberating for both daughter and mother. Neither depressing nor medical, COMPLAINTS OF A DUTIFUL DAUGHTER is much more than a story about Alzheimer's and family caregiving. It is ultimately a life-affirming exploration of family relations, aging and change, the meaning of memory, and love.