Founded in the 1970s in a New York City apartment, The Lesbian Herstory Archives is now the world’s largest collection of materials by and about lesbians. For more than 40 years, the all-volunteer organization has striven to combat lesbian invisibility by literally rescuing history from the trash. Frustrated by misogyny and homophobia within academia, Deborah Edel and Joan Nestle co-founded the archives for those conducting research, both professional and personal. Over the years, the organization has witnessed many of the major milestones in LGBTQ+ history and has weathered several storms. Today, with its founders in their seventies, the archives are facing new challenges, including a change in leadership and the rise of digital technology. Exploring the fascinating origins of the organization, THE ARCHIVETTES is a tribute to second-wave feminism and intergenerational connection, as well as an urgent rallying cry for continued activism in a politically charged moment.

Law enforcement agencies across the U.S. commonly use a complex psychological tactic during interrogations to get suspects to confess to crimes, often without regard for whether or not the suspect is actually guilty. FALSE CONFESSIONS follows defense attorney Jane Fisher-Byrialsen as she fights to put an end to this institutionalized injustice. Through the stories of four of her cases, including that of Korey Wise who was only sixteen when he was manipulated into a false confession in the infamous Central Park Jogger case, the film examines the psychological aspect of how people end up confessing to crimes they have not committed as well as the consequences of these confessions – for those accused, for their families and for society. On the heels of the difficult and critically important national conversation sparked by Ava Duvernay's miniseries about The Central Park Five, FALSE CONFESSIONS is an urgent in-depth look at the dark side of the American Justice system that goes even further into investigating the social, racial and legal issues at stake.

THE CANCER JOURNALS REVISITED is prompted by the question of what it means to re-visit and re-vision Black lesbian feminist poet Audre Lorde’s classic 1980 memoir of her breast cancer experience today. At the invitation of filmmaker Lana Lin, who was diagnosed with breast cancer in 2010, twenty-seven writers, artists, activists, health care advocates, and current and former patients recite Lorde’s manifesto aloud on camera, collectively dramatizing it and producing an oration for the screen. The film is both a critical commentary and a poetic reflection upon the precarious conditions of survival within the intimate and politicized public sphere of illness.

ALL WE’VE GOT is an insightful personal exploration of LGBTQI women’s communities, cultures, and social justice work through the lens of the spaces they create, from bars to bookstores to arts and political hubs. Social groups rely on physical spaces to meet and build connections, step outside oppressive social structures, avoid policing and violence, share information, provide support, and organize politically. Yet, in the past decade, more than 100 bars, bookstores, art and community spaces where LGBTQI women gather have closed. In ALL WE’VE GOT, filmmaker Alexis Clements travels the country to explore the factors driving the loss of these spaces, understand why some are able to endure, and to search for community among the ones that remain. From a lesbian bar in Oklahoma; to the Esperanza Peace & Justice Center in San Antonio run by queer Latinas; to the WOW Café Theatre in New York; to the public gatherings organized by the Trans Ladies Picnics around the US and beyond; to the Lesbian Herstory Archives in Brooklyn, the film takes us into diverse LGBTQI spaces and shines a light on why having a place to gather matters. Ultimately, ALL WE’VE GOT is a celebration of the history and resilience of the LGBTQI community and the inclusive spaces they make, as well as a call to action to continue building stronger futures for all communities.

THERE GOES THE NEIGHBORHOOD intimately follows an extended Black family of View Park-Windsor Hills, California as they experience changes due to gentrification and reflect on their shifting community. View Park-Windsor Hills is the largest Black middle-class neighborhood in the country. Adele Cadres is a longtime resident and mother of three who gives us insight into the history of the neighborhood. Her eldest daughter Ayana Cadres raises her biracial children with the hopes that they foster the utmost respect and reverence for the Black community she grew up in. Adele’s youngest daughter, Aida, struggles to find an affordable home in the neighborhood due to increasing property value. As the family and other residents reflect on the history and culture of their neighborhood, they debate the issues of maintaining a changing community. As the national conversation about the housing crisis continues and more and more people are being priced out of the market, THERE GOES THE NEIGHBORHOOD provides intimate access to the families most affected by this growing issue.

In the Arab-American neighborhood outside of Chicago where journalist and filmmaker Assia Boundaoui grew up, most of her neighbors think they have been under surveillance for over a decade. While investigating their experiences, Assia uncovers tens of thousands of pages of FBI documents that prove her hometown was the subject of one of the largest counter terrorism investigations ever conducted in the U.S. before 9/11, code-named "Operation Vulgar Betrayal." With unprecedented access, THE FEELING OF BEING WATCHED weaves the personal and the political as it follows the filmmaker’s examination of why her community-including her own family-fell under blanket government surveillance. Assia struggles to disrupt the government secrecy shrouding what happened and takes the FBI to federal court to compel them to make the records they collected about her community public. In the process, she confronts long-hidden truths about the FBI’s relationship to her community. THE FEELING OF BEING WATCHED follows Assia as she pieces together this secret FBI operation, while grappling with the effects of a lifetime of surveillance on herself and her family.

I AM THE REVOLUTION is an empowering portrait of three determined women in the Middle East who are leading the fight for gender equality and freedom. Politician Selay Ghaffar is one of the most wanted people in the world by the Taliban and yet she still travels through Afghanistan to educate other women about their rights. Rojda Felat is a commander of the Syrian Democratic Army, leading 60,000 troops to defeat ISIS, including freeing their hold on Raqqa and rescuing its people. And Yanar Mohammed, named by the BBC as one of 100 most influential women in the world in 2018, pushes for parliamentary reform in Iraq while running shelters for abused women. Despite battling seemingly overwhelming obstacles, all three women display resilience, bravery and compassion. I AM THE REVOLUTION challenges the images of veiled, silent women in the Middle East and instead reveals the extraordinary strength of women rising up on the front lines to claim their voice and their rights.

COUNCILWOMAN is the inspiring story of Carmen Castillo, an immigrant Dominican housekeeper in a Providence hotel who wins a seat in City Council, taking her advocacy for low-income workers from the margins to city politics. The film follows Castillo’s first term as she balances her full-time day job as a housekeeper with her family life and the demands of public office. She faces skeptics who say she doesn’t have the education to govern, the power of corporate interests who take a stand against her fight for a $15 hourly wage, and a tough re-election against two contenders. As Castillo battles personal setbacks and deep-rooted notions of who is qualified to run for political office, she fiercely defends her vision of a society in which all people can earn enough to support themselves and their families. An eye-opening look at entrenched power in American democracy, COUNCILWOMAN is essential viewing for Latinx, Immigrant, Political Science and Labor Studies courses.

This intimate and personal documentary follows two women from Ciudad Juárez as they cross the U.S.-Mexico border legally to give birth in Texas, putting their hearts and bodies on the line as they confront harassment at the hands of U.S. border officials. One million people legally cross the U.S.-Mexico border every day in both directions. Among them are women who cross for the purposes of childbirth. With the threat of obstetrical violence in Mexican hospitals and the desire for natural birth with midwives, Gaby and Luisa make the difficult decision to cross the border to El Paso, seeking a safer future for their children. Even with papers, their journeys are uncertain. Against the backdrop of oppressive U.S. border policy and growing debates over immigration, these women's stories of risk, strength, and resilience shed light on the realities and challenges of life on the border.

Filmed over the course of nine years, HOME TRUTH chronicles one family’s pursuit of justice, shedding light on how our society responds to domestic violence and how the trauma from domestic violence tragedies can linger throughout generations. In 1999, Colorado mother Jessica Gonzales experienced every parent’s worst nightmare when her three young daughters were killed after being abducted by their father in violation of a domestic violence restraining order. Devastated, Jessica sued her local police department for failing to adequately enforce her restraining order despite her repeated calls for help that night. Determined to make sure her daughters did not die in vain, Jessica pursued her case to the US Supreme Court and an international human rights tribunal, seeking to strengthen legal rights for domestic violence victims. When her legal journey finally achieved widespread national change and she became an acclaimed activist, Jessica struggled to put her life and relationships back together.

MARCELINE. A WOMAN. A CENTURY is a fascinating portrait of the persevering French filmmaker, writer, and Holocaust survivor Marceline Loridan-Ivens (1928-2018). Marceline was only 15 when both she and her father, a Polish Jew from Lódź, were deported to Auschwitz-Birkenau. She survived but her father didn’t, and Marceline had to find radical and unconventional ways to heal after the tragedies of the war. In 1961, she appeared in Jean Rouch and Edgar Morin’s landmark film Chronicle of a Summer, which gave birth to the term cinema verité. Later she married the legendary Dutch documentary director Joris Ivens, traveled with him to Vietnam, and co-directed films such as 17th Parallel: Vietnam in War (1968) and How Yukong Moved the Mountains (1976). Filmed as she was nearing 90 years old and living in Paris, MARCELINE. A WOMAN. A CENTURY spans the broad arc of her life from Holocaust survivor to political activist to combatively critical filmmaker. Looking back on the momentous events she experienced and filmed such as the Algerian and Vietnam Wars and the Chinese Cultural Revolution, MARCELINE is a thought-provoking chronicle of a remarkable witness of the 20th century.

A THOUSAND GIRLS LIKE ME is an awe-inspiring vérité documentary that tells the story of a young Afghan woman’s brave fight to seek justice and protect her children after experiencing years of abuse at the hands of her father. Khatera Golzad’s father physically and sexually abused her for more than thirteen years, and after several aborted pregnancies, she gave birth to a daughter and a son. Despite her many attempts to file charges, neither the Afghan police nor the legal system helped her. In 2014, she appeared on national television to publicly accuse her father, finally succeeding in bringing her case to court despite threats from male relatives and judges who labelled her a liar. Shedding light on the broken Afghan judicial system and the women it seldom protects, A THOUSAND GIRLS LIKE ME is the story of one woman’s battle against cultural, familial, and legal pressures as she embarks on a mission to set a positive example for her daughter and other girls like her. In a country where the systematic abuse of girls is rarely discussed, Afghan filmmaker Sahra Mani’s film is ultimately a story of bravery, love, hope and resilience.

93QUEEN is the inspirational story of Rachel “Ruchie” Freier, a no-nonsense Hasidic lawyer and mother of six who is determined to shake up the boy’s club in her community by creating Ezras Nashim, the first all-female volunteer ambulance corps in New York City. In the Hasidic enclave of Borough Park, Brooklyn, EMS corps have long been the province of men. Though the neighborhood is home to the largest volunteer ambulance corps in the world, that organization has steadfastly banned women from its ranks. Now Ruchie and a group of tenacious Hasidic women are risking their reputations and the futures of their children to provide dignified emergency medical care to the Hasidic women and girls of Borough Park. Through it all, we see them grappling to balance their faith with their nascent feminism, even as they are confronted by the patriarchal attitudes that so dominate Hasidic society. With unprecedented insider access, 93QUEEN offers a unique portrayal of a group of empowered religious women who are taking matters into their own hands to change their own community from within.

PRIMAS is an evocative and poetic portrait of two Argentine teenage cousins who come of age together as they overcome the heinous acts of violence that interrupted their childhoods. When Rocío was 10 years old, she was dragged from her bike by a stranger, raped, set on fire and left for dead. Now a teenager, she still grapples with memories of the nightmarish assault that left her body scarred. Together with her cousin Aldana, who was sexually abused for years by her own father, she lives, laughs and shares her story. Traveling through Argentina and Montreal, the two cousins embark upon a program of theater, dance, and circus that helps them process complex emotions. Little by little, they manage to rebuild the lives that were so brutally stolen from them and free themselves from the shadows of their past. A humanistic exploration of familial love, creativity, and courage in the wake of sexual violence, PRIMAS is a moving tribute to the deep strength of resilient women.

EXIT is a personal and urgent look at the ways people legitimize hatred and the threats they face when they attempt to leave their radicalized worlds behind. Paralleling her own past as part of a violent right-wing organization with the experiences of other former extremists, filmmaker Karen Winther explores what makes someone join neo-Nazis, Jihadists or other hate groups, and what makes them decide to leave. Winther introduces us to Angela from the US and Ingo and Manuel from Germany, all ex-right-wing extremists who made the leap to abandon their movement and now must live isolated lives in hiding. In Denmark, we witness the other side of the spectrum when former violent left-wing extremist Søren shares the story of his life. Winther also travels to France to meet a French former jihadist. Through these intimate conversations, Winther examines how and why some radicalized people, when confronted with the realisation that everything they once firmly believed is wrong, gather the courage to embark on extraordinary journeys to turn their lives around.

In this Emmy-winning documentary, acclaimed Muslim filmmaker Deeyah Khan meets U.S. neo-Nazis and white nationalists including Richard Spencer face to face and attends the now-infamous Unite the Right rally in Charlottesville as she seeks to understand the personal and political motivations behind the resurgence of far-right extremism in the U.S. Speaking with fascists, racists and proponents of alt-right ideologies, Deeyah, attempts to discover new possibilities for connection and solutions. As she tries to see beyond the headlines to the human beings, her own prejudices are challenged and her tolerance tested. When she finds herself in the middle of America's biggest and most violent far right rally in recent years, Deeyah's safety is jeopardized. Can she find it within herself to try and befriend the fascists she meets? With a U.S. president propagating anti-Muslim propaganda, the far-right gaining ground in German elections, hate crime rising in the UK, and divisive populist rhetoric infecting political and public discourse across western democracies, WHITE RIGHT: MEETING THE ENEMY asks why. The film is an urgent, resonant and personal look at race wars in America.

Maria Irene Fornes was one of America's greatest playwrights and most influential teachers, but many know her only as the ex-lover of writer and social critic Susan Sontag. The visionary Cuban-American dramatist constructed astonishing worlds onstage, writing over 40 plays and winning nine Obie Awards. At the vanguard of the nascent Off-Off Broadway experimental theater movement in NYC, Fornes is often referred to as American theater's "Mother Avant-Garde." When she gradually stops writing due to dementia, an unexpected friendship with filmmaker Michelle Memran reignites her spontaneous creative spirit and triggers a decade-long collaboration that picks up where the pen left off. The duo travels from New York to Havana, Miami to Seattle, exploring the playwright's remembered past and their shared present. Theater luminaries such as Edward Albee, Ellen Stewart, Lanford Wilson, and others weigh in on Fornes's important contributions. What began as an accidental collaboration becomes a story of love, creativity, and connection that persists even in the face of forgetting.

YOURS IN SISTERHOOD is a performative, participatory documentary inspired by the breadth and complexity of letters that were sent in the 1970s to the editor of Ms.- America's first mainstream feminist magazine. The film documents hundreds of strangers from around the U.S. who were invited to read aloud and respond to these letters written by women, men and children from diverse backgrounds. Collectively, the letters feel like an encyclopedia of both the 70s and the women's movement- an almost literal invocation of the second-wave feminist slogan "the personal is political." The intimate, provocative, and sometimes heartbreaking conversations that emerge from these performances invite viewers to think about the past, present, and future of feminism.