Overview

Overview

Documentary that follows the movement of the collage makers throughout France.

Overview

In 1918, the U.S. Army Signal Corps sent 223 women to France as telephone operators to help win the Great War. They swore Army oaths, wore uniforms, held rank, and were subject to military justice. By war's end, they had connected over 26 million calls and were recognized by General John J. Pershing for their service. When they returned home, the U.S. government told them they were never soldiers. For 60 years, they fought their own government for recognition. In 1977, with the help of Sen. Barry Goldwater and Congresswoman Lindy Boggs, they won. Unfortunately, only a handful were still alive.

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An intimate study of one of the most influential and provocative thinkers of the 20th century tracking feminist icon Susan Sontag’s seminal, life-changing moments through archival materials, accounts from friends, family, colleagues, and lovers, as well as her own words, as read by Patricia Clarkson.

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Documentary about the practice of abortion in France in the early seventies, at a time when it was still illegal.

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One year after the death of Simone de Beauvoir (14 april 1986) Delphine Seyrig pays homage by visiting her grave. which she finds still covered with flowers and letters from all over the world.

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As a result of the Holocaust and later, AIDS, the male homosexual community has sustained bitter losses and, according to Praunheim, lesbian women have now placed themselves at the head of the so-called queer movement. The female protagonists in the film represent two different generations; they also incorporate the past and present status of homosexuals in society.

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Delphine Seyrig reads passages from a Valerie Solanas’s SCUM manifesto.

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Documentary about feminism in music and the challenges it has faced through the years from the '70s to present day.

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«Bonds» is an experiment between two creatures who explores the bonds that ties them together through bondage. It explores how queer intimacy, consent and eroticism intersects with power play, the relation to the camera and d.i.y feminist filmmaking.