Irene Knoth
as
Valmir Leite Silva
Pedro Leite Knoth
Eduardo Leite Knoth
Wanda Leite Silva
João Victor de Moraes Felício
In this layered short film, filmmaker Janine Windolph takes her young sons fishing with their kokum (grandmother), a residential school survivor who retains a deep knowledge and memory of the land. The act of reconnecting with their homeland is a cultural and familial healing journey for the boys, who are growing up in the city. It’s also a powerful form of resistance for the women.
Almost five years after their return to power, a new era has dawned under the yoke of the Taliban, an inflexible fundamentalist regime. Under their rule, the former republic has disappeared, replaced by an ultra-rigid power structure closed off from the rest of the world and the foreign press. An "Islamic Emirate of Afghanistan", largely unrecognised, even by Islamic theocracies. After four shoots, mainly carried out outside the official framework, "The Taliban Country" offers a glimpse into the heart of this new Afghan reality. Through the eyes of the men and women facing these upheavals, the film paints a portrait of a paradoxical and radical system. It offers an in-depth look at the workings of a state characterised by extreme rigour, unparalleled in the contemporary world.
Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.
A tender exploration of friendship, identity, and transformation, this film follows Brahel and Andoeni, who met as children and grew up together in Guadalajara. Though their romantic relationship eventually ended, their deep friendship endured. Years later, after Brahel’s gender transition, the two reconnect and rediscover their bond. Through a rich tapestry of archival footage, music, intimate moments, and unspoken emotions, the narrative unfolds as a heartfelt journey of reconnection, vulnerability, and lasting affection.
From the shadows of a Guatemalan neighbourhood scared into silence, two sisters lead a luminous rebellion—unleashing joy, art, and radical truth in a fight for survival.
The history of nuns mirrors the history of all women -- in what we are taught about the past, women are almost invisible. Although today's one million nuns outnumber priests two to one, they must struggle to be heard by the all-male Roman Catholic hierarchy from which they are excluded. Behind the Veil: Nuns is the first film ever to record from a global perspective the turbulent history and remarkable achievements of women in religion, from pre-Christian Celtic communities to the radical sisters of the 1980s. Contemporary nuns of strength, dignity and commitment speak of their lives and of their predecessors.
After four years away, Huiju returns home to South Korea. Exchanges with her loved ones are awkward and clumsy. Huiju turns once again to her familiar rituals: pruning the trees, preparing a sauce, tying a braid.
In her attempt to escape her past, Huiju relocated to the UK over 11 months ago. However, even after moving to a new country, she found that her nightmares from Korea continued to haunt her. Determined to move forward, she made the decision to confront her memories head-on in a very contemporary way, using dating apps to push the boundaries she had set due to her sexual trauma.
According to an ancient myth, there was a woman who, by violating the prohibition against leaving her house during menstruation, became a cannibalistic woman, an evil spirit. Amid the fear and outcry of the men, the woman was murdered and burned. But soon after, from the ashes of her pubic hair, the tobacco plant sprang forth. Today, the women of the tobacco fields are experiencing a resurgence in collective work that intertwines with personal aspirations. Five women tell us in their own words how they learned the trade from childhood. As they work, the women of the tobacco fields share their lives and their silenced childhoods. They share stories and veiled traditions.
Picturesque scenes of land girls gathering hay on an Essex farm during WWI.
Pauline, Norah, Kristina and others wait for hours, sitting under a hut deep in the Bois de Vincennes. In front of the administrative detention center (CRA) in Paris, they have all come to see their loved ones locked up. Lives on hold, awaiting deportation or release. On this stage, these women tell their stories, talk to each other, share their experience, their revolt and their dreams with new visitors. They are the mirror of migrant detention, its reverse view.
The documentary chronicles women's experiences of discovering, dreaming, acting and rebelling together, namely the early years of the formation of a feminist movement in Turkey.
The dance of the voladores is a ritual originating in Mesoamerica, before the Spanish occupation. There are also women, Viviana Guerrero, from Zozocolco, Karina Baltazar, from Cuetzalan and Barbara Rivera, from the congregation of El Tajin in Veracruz, who have dreamed of flying since they were little. who dreamed of flying since they were little. Now they are flying women. Karina, who follows the family tradition, is the first woman flyer. Although it is not well accepted among men, they reaffirm themselves as flyers who follow the tradition of their fathers and grandfathers. and grandparents' tradition.
Five women tell stories about scars they have on their bodies and share the process of self-acceptance that goes beyond their own traits.