Film Categories: Work about Women

  • January 15, 1991: Gulf War Diary

    “A personal register of the passing deadline, fashioned entirely in camera. Toward midnight, a trip to a demonstration at the U.S. consulate in Toronto vies for frame with the swirling super-impositions of clocks and newscasts.” – Pleasure Dome, “War and Cinema” program notes, January 15, 1991

  • Jill Johnston: October 1975

    Jill Johnston is the author of “Marmalade Me,” “Gullible’s Travels,” “Lesbian Nation’,” and “Motherbound.” This cinema verité documentary is a portrait of Johnston at work and a feminist author at a transitional point in the women’s movement and in her own career.

  • Jimmy Brown the Newsboy

    This visual poem for children utilizes silhouette paper doll cut-outs and characters to follow a young boy and his pet frog on an early morning paper route. The characters dance in time to the music, a traditional American folk tune, from which the film takes its title.

  • Journeys from Berlin/1971

    In “Journeys from Berlin/1971” there are five characters: a man, woman, and adolescent girl who “appear” only on the sound track; a female psychoanalytic patient in her early 50s; and a therapist, or analyst, played alternately by a man, woman, and nine-year-old boy. The speech of the analytic session is synchronous with the image. The voice-over of the other three people bears a constantly shifting relationship to a recurrent gamut of images: views from a moving train window and from various apartment windows in Berlin, London, and New York; tracking shots scanning a mantlepiece cluttered with objects; aerial views of…

  • Julie: Old Time Tales of the Blue Ridge

    80-year-old Julie Lyon, sister of Old Time fiddler Tommy Jarrell, lights up this gem of a film as she spins tales of her Appalachian childhood in North Carolina – and her first romance.

  • Just Before the Dawn

    Whether you’re in Honduras or in California, the symbols of the good life are the same… Coca-Cola, lottery tickets, and designer jeans… the difference is that in Honduras, most people can’t afford to buy. To combat the desperate poverty, the women of Honduras have started to organize. “Just Before the Dawn” focuses on three groups of women in rural Honduras who are discovering they can effect changes they never even dreamed of.

  • Keltie’s Beard: A Woman’s Story

    Before Keltie came along, the women in her family removed their facial hair and told no one. Keltie is proud of her beard and tells her story to us in this single-take film.

  • Kisses

    “Betty Ferguson’s ‘Kisses’, an hour-long anthology of film clips presented without titles or voiceover, is the sweetest and, in avant-garde terms, the most conventional film on the program. Although the kiss reached its supreme expression as the on-screen replacement for copulation in post-Code Hollywood, Ferguson’s material is drawn largely from silent classics and the less-fetishized European cinema of around 1960. She compares her film to a patchwork quilt, but it’s basically morphological, cataloguing clusters of shots where kisses are delivered to the hand, the neck, rained down on a beloved face, perfunctorily bestowed on a spouse, awarded to dogs, dolls,…

  • Lac La Croix

    Native people young and old speak about land issues, the environment, and the culture and history of Lac La Croix Ojibway peoples of northwestern Ontario. The film examines issues such as the community ban on liquor, the fight against welfare dependency, and the effects of the media on young people. “Lac La Croix” was made with the full cooperation of the Lac La Croix community. In the film, many different people speak about their lives and their current political struggles. This is a film about a Native community fighting successfully for survival, blending the old and the new.

  • Lady in a Chair

    This film documents the tragedy of senility as it affects the life of an elderly woman. Whereas she was once in command of language (and culture), she is now victimized by her inability to interact with it. The objects in her home offer no comfort; rather they combine to illustrate the imprisoning nature of her state. She questions the meaning of her continued existence and pleads for help that can never come. The voice used is that of the woman whose plight the film describes; the words are hers and, with two exceptions, the voice was recorded “straight.” Originally shot…