She was born in the gutters, and you better stay out of her way...

Jean Kilbourne continues her groundbreaking analysis of advertising's depiction of women in this most recent update of her pioneering Killing Us Softly series. In fascinating detail, Kilbourne decodes an array of print and television advertisements to reveal a pattern of disturbing and destructive gender stereotypes. Her analysis challenges us to consider the relationship between advertising and broader issues of culture, identity, sexism, and gender violence.

Young women in St. Petersburg are going back to school. They want to learn how to seduce, marry and control men. They try to find a path to stability, happiness and prosperity. They want to learn how to be a successful bitch. Bitch Academy is a tragicomic documentary of early Russian capitalism, which determines the dreams and intimacies of its young generations, in at atmosphere of fear and hope.

An Italian documentary that looks at how television manipulates and exploits women's bodies. It all started with the observation that women – real women – are an endangered species on television, one that is being replaced by a grotesque, vulgar and humiliating representation. This is an enormous loss: the erasure of womens' identity is happening right before our eyes, but there is no outcry, even from women themselves. This led to the idea of compiling TV images that share a common manipulative exploitation of womens' bodies, to let people know what is happening – not only people who never watch television, but especially those who watch it but “don't see.” The aim is to pose questions about the reason behind this erasure, a real “pogrom” of which all of us are silent spectators. The project pays special attention to the erasure of adult faces on television, to the use of plastic surgery to erase any sign of the passage of time, and to the social consequences of this erasure.

Hay mish Eishi, features portraits of 8 Palestinian women from different social and religious backgrounds exploring how they live war and imagine peace in the profound depth of lived realities and felt pains. These are not unusual women, women leaders or exceptional women in the news media sense. They are media and theatre professionals, farming women, a cleaning woman, a boutique owner, a university student, a high school teenage girl, and housewives. These are the ordinary lives which make up the news and which the news makes invisible. They speak with passion, bewilderment, anger, rage and outrage?.they situate themselves in a life of dignity and productivity, where their lives and actions are not reduced to a bundle of fear.They speak of profound losses - of self and direction, livelihood, land, homes and family members. What they say so powerfully and directly through their hopes and wishes is that they want a life of meaning, of sharing, of giving, of routines and rituals, of loving and caring, of ordinariness with all its blessings and grace.They do not want the degrading, terrorizing drama of war

Conversations between house maids in Mexico City.

“The following is a true fact about American feminism: Courtney Love’s mother was Katherine Power’s therapist. GOOD SISTER/BAD SISTER is about fugitivism. Therapy. Rock and roll. FBI harassment of lesbians. The legacy and memory of radical feminism. Lipstick. Violence. Surrender. Bank-robbing. Generational politics. History. Through documentary technique, such as talking-head interviews and dramatic re-creations, Johnson connects notorious baby-doll grunge rocker Courtney Love with Katherine Power, a sixties activist and fugitive of the FBI for 23 years. Through the link of Linda Carroll, who is coincidentally both Love’s estranged mother and Power’s therapist, Johnson creates a multi-layered dialogue between the women that exemplifies and comments on female transgression within the public arena. When feminism is still the dirty F word of the Nineties, how do women fight American disorder without just being bad girls in a male-defined world' [...] Just because the sixties was a mind fuck, does it mean that we can never ask Utopian questions again?” – Berlin Film Festival 1997

The confessions of a woman who took flight. 6th Independent Vídeo & Interactive Phenomena Show

A series of stories that offer us a glimpse into the everyday life of women living in France and Islamic countries through their own eyes, and show us some of the problems facing women in the Muslim world.