Browse Films

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    [id] => 294
    [title] => Between the Lines: Asian American Women's Poetry
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    [year_released] => 2001
    [text] => BETWEEN THE LINES offers rare interviews with over 15 major Asian-Pacific American women poets. Organized in interwoven sections such as Immigration, Language, Family, Memory, and Spirituality, it is a sophisticated merging of Asian-American history and identity with the questions of performance, voice, and image. 

This engaging documentary serves as poetry reading, virtual anthology, and, perhaps most importantly, moving testimony about gender, ethnicity, aesthetics, and creative choice.  The carefully edited interviews and poems read reflect the filmmaker's desire to show both individual voice and diversity within the Asian-American women’s community.  Theoretically as rich as the images and poems provided, there is also an implicit conversation in the film about the possibility and usefulness of an Asian-American women’s aesthetic/poetic. Using carefully selected archival images, historical footage, and brilliant photography as the scrim through which we hear the poets, BETWEEN THE LINES provides important and lively viewing for literature, history, ethnic and women’s studies classes.”  - Joseph Boles, Visiting Scholar, Center for Visual Culture, Bryn Mawr
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    [id] => 312
    [title] => Reconstruction
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    [year_released] => 2001
    [text] => Filmmaker Irene Lusztig unearths a dark family secret in search of answers and reconciliation in her breakthrough feature documentary, RECONSTRUCTION.  In communist Romania 1959, Lusztig’s maternal grandmother, Monica Sevianu, took part in a failed bank robbery (known as the Ioanid Gang bank heist) and was condemned to life in prison.  Forty years later, the filmmaker returns to Bucharest to reassemble the pieces of her shocking story and construct a portrait of her estranged and enigmatic grandmother.  

The title of the documentary derives from a bizarre government propaganda film that reenacts the crime and trial of the robbery and shockingly stars the actual members of the Ioanid Gang – including Monica Sevianu. This surreal docu-drama incorporates interviews, contemporary footage shot in Bucharest and rare archival images, Lusztig reveals a mesmerizing family story spanning three generations about the subversive crime of six Jewish intellectuals, while presenting a compelling and complex examination of modern-day Romania.
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    [id] => 291
    [title] => The Fourth Dimension
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    [year_released] => 2001
    [text] => Acclaimed filmmaker Trinh T. Minh-ha ventures into the digital realm with her stunning feature, THE FOURTH DIMENSION, an incisive and insightful examination of Japan through its art, culture, and social rituals.  As is the case with Trinh's previous films, her film is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making.

THE FOURTH DIMENSION is an elegant meditation on time, travel, and ceremony in the form of a journey.  In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present.  She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning."  With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.

“Trinh T. Minh-ha’s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture.  Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual.  In THE FOURTH DIMENSION, Trinh’s lyrical narration guides us through ‘Japan’s likeness,’ the perfected framing of the sacramental familiar.”  - Steve Seid
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    [id] => 428
    [title] => She Wants to Talk to You
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    [year_released] => 2001
    [text] => In October 1999 filmmaker Anita Chang befriended three 13-year-old girls – Monika Rasali, Sushma Sada and Vinita Shrestha – while living in Kathmandu, Nepal. Honestly presenting themselves in front of the camera, these girls share with the filmmaker their ideas on marriage, friendship and spirituality. Their recordings provide a complex and poignant framework for three Nepali women living in the U.S. to reflect on their own struggle, exile and quest for liberation. Through verite documentary, the film offers rare insight into the lives of girls and women from a society steeped in patriarchy, tradition and caste. SHE WANTS TO TALK TO YOU speaks closely to young girls and women, as well as provokes universal introspection about the nature of happiness and oppression, and human relations and intimacy.
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    [id] => 446
    [title] => Elida Schogt Trilogy
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    [year_released] => 2001
    [text] => Elida Schogt’s deeply personal trilogy of short documentaries on Holocaust memory: ZYKLON PORTRAIT (1999), THE WALNUT TREE (2000) and SILENT SONG (2001) have been screened around the globe, garnering numerous awards. This trilogy includes:
 
ZYKLON PORTRAIT, a Holocaust film without Holocaust imagery that combines archival instructional films with family snapshots, home movies, underwater photography, and hand-painted imagery for an expressive exploration of how history and memory are related to one family's loss.

THE WALNUT TREE examines Holocaust memory, the family, and the role of photography in history through a striking combination of documentary and experimental approaches. As its point of departure, the film shows three girls in Dutch costumes posing for their father's camera. This sweet but fleeting moment, made static in a snapshot, is contrasted with live-action images of railway tracks--tracks that carried the death transports--now blurred by the passage of time.

“In SILENT SONG Schogt deftly conjures an elaborate dialogue around issues of memory in its various forms - personal, historical, filmic… [her] rich and nuanced economy of style is brilliantly illustrated here as these meditations lead to the most basic, yet most cogent statements on the nature of memory itself. Perhaps more importantly, Schogt points to the unstable nature of the recorded image, one that history has come to rely on.” - Barbara Goslawski, Independent Film Critic and Curator, Toronto
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    [title] => Georgie Girl
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    [year_released] => 2001
    [text] => Meet Georgina Beyer, the “it” girl of New Zealand politics.  A one-time sex worker of Maori descent turned public official, Georgina stunned the world in 1999 by becoming the first trans person to hold national office.  This unlikely politician grew up on a small Tarankai farm and later became a small-time celebrity on the cabaret circuit in Auckland.  With charisma, humor and charm, Beyer unapologetically recounts her fascinating life story, shares how she overcame adversity and discloses the reasons she decided to run for office in a mostly all white, conservative electorate. Incorporating an unbelievable montage of colorful archival images dug up from Georgina’s days as an exotic dancer, theatre and television performer, this absorbing documentary breaks down stereotypes and promotes greater understanding of transgender people.
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    [id] => 303
    [title] => Africa, Africas
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    [year_released] => 2001
    [text] => A rare collection from the emerging voices of African documentary filmmaking, this unique series daringly explores the social and cultural realities experienced in Africa today – including the infiltration of Western beauty standards, territorial displacement and high unemployment.  FANTACOCA by Agnes Ndibi (23 minutes) presents the disturbing cultural phenomenon of skin bleaching in Cameroon and the challenge it is now posing on notions of black pride and identity.  THE RIVER BETWEEN US by Maji-da Abdi (18 minutes) documents the alarming effects of war on a community of Ethiopian women and children who were forcibly relocated into refugee camps. LAAFI BALA by Fanta Regina Nacro (20 minutes) demonstrates the glaring causes of wide-spread unemployment and poverty in Burkina Faso, where few institutional resources and government support are available, and the debilitating effects this is having on women and youth.
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    [id] => 297
    [title] => Ramleh
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    [year_released] => 2001
    [text] => A timely and powerful look at the ideological, cultural and political conflicts in contemporary Israel, this highly original documentary profiles three seemingly disparate women residing in the town of Ramleh.  Located in the heartland of the Israel, this former Palestinian territory serves as a microcosm of the beliefs, biases and conflicts of women living in the country today.

Profiled in this compelling documentary are Sima and Orly, two ultra-orthodox Jewish women who rediscover religion and enthusiastically support the conservative “Shas” party, the third largest political party in Israel; Svetlana, a single-mother and recent immigrant struggling to establish herself in her new country; and Gehad, a young Muslim teacher and law student attempting to find a sense of national identity in a predominately Jewish state.  Filmed between the general elections in 1999 and the 2001 elections, Ramleh demonstrates the profound cultural and political divisions barring these women from living together as a united community, as well as reveals how their political landscape helped sow the seeds of the intifada in 2000. It similarly raises the question of whether each woman and the communities they represent will ever peacefully reconcile their search for tradition, religion and homeland.
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    [id] => 274
    [title] => Hammering It Out
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    [year_released] => 2000
    [text] => “This spirited documentary spotlights the experience of women in the building trades, specifically those women involved in the Century Freeway Women's Employment Project in Los Angeles.  Framed by the story of a community-initiated lawsuit that resulted in hundreds of women getting trained to work on a billion-dollar freeway project, the film evolves into a primer on the feminist issues of equality, identity, and changing gender roles.   Powerful testimonials by the women workers tell stories of the often unspoken gendered specifics of discrimination in the building trades: sexual harassment at the jobsite; negotiations about childcare and worker benefits; and the translation of affirmative action policy to the traditional practices of contractors and the historical conventions of the male worksite. The film demonstrates the importance of providing opportunity, embracing equity, and abandoning sexist traditions which deny talented women workers the right to support their families on a par equal with men. It also serves as a cautionary tale that warns that unless laws, policies, and conventions are changed, women workers may be forced out of their chosen professions, like the Rosie the Riveters, by bias and expediency.”  Joseph Boles, Northern Arizona University
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    [id] => 282
    [title] => Macho
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    [year_released] => 2000
    [text] => In 1998, Managua, Nicaragua became host to one of the most publicized and controversial cases of sexual abuse to hit modern day Latin America.  At the epicenter of the scandal stood none other than Nicaraguan Sandinista leader and ex-President Daniel Ortega.  Revered as a revolutionary hero and symbol of military strength, Ortega was accused on multiple charges of rape and battery by his stepdaughter, Soilamerica Narvaez.  Despite Ortega's eventual acquittall--he was granted immunity from prosecution as a member of the legislature--a group of pioneering men rallied around the episode to organize a radical campaign against domestic violence and sexual abuse.  Their efforts eventually led to the formation of the internationally acclaimed organization, Men Against Violence.

MACHO, a film by Lucinda Broadbent, provides an in-depth profile of Men Against Violence and its ground-breaking work towards eliminating attitudes of male chauvinism (known as machismo in Spanish) that have perpetuated violent acts against women in Nicaragua and Latin America.  The film strongly demonstrates that despite living in one of the most destitute countries in Latin America, this group has succeeded in providing a model that is used by men worldwide to discuss issues of violence and advocate for the rights of women.

MACHO offers a rare glimpse at the methods used by Men Against Violence to discuss the abuse of power and the damage it causes families and communities.  It also is a powerful film that challenges assumptions about "machismo" and its continued application to Latino culture.  In the end, MACHO demonstrates that violence against women and sexual abuse is a worldwide epidemic that needs to be addressed by all men in every country.
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    [id] => 263
    [title] => La Boda
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    [year_released] => 2000
    [text] => In an intimate portrait of migrant life along the U.S.-Mexican border, Hannah Weyer’s new film LA BODA delves into the challenges faced by a community striving to maintain their roots in Mexico, while pursuing the “American Dream” across the border. Weyer’s camera follows Elizabeth Luis during the weeks before her marriage to Artemio Guerrero, interweaving the anticipation of the upcoming wedding with candid stories that explore the architecture of the Luis family. For 22-year-old Elizabeth, migrant life has meant shouldering responsibilities beyond those of an average young adult. Along with her seven siblings, she has contributed to the family income throughout her adolescence and young adulthood, often forced to sacrifice school for fieldwork and social life for travel as she and her family move between Texas, California and Mexico.  LA BODA tells the timeless story of a young woman’s coming of age, while also confronting negative stereotypes of the migrant community with the real life biography of a Mexican-American family bridging the gap between countries and culture.
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    [id] => 259
    [title] => The Children We Sacrifice
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    [year_released] => 2000
    [text] => Shot in India, Sri Lanka, Canada and the United States, and screened in 18 countries, this evocative, visually powerful documentary is about incestuous sexual abuse of the South Asian girl child. By interweaving survivors' narratives, including the producer's own story, with interviews with South Asian mental health professionals, and with statistical information, as well as poetry and art, THE CHILDREN WE SACRIFICE discloses the many layers of a subject traditionally shrouded in secrecy.  Insights into the far-reaching psychological, social and cultural consequences of incest are accompanied by thoughtful assessments of  strategies that have helped adult women cope with childhood trauma.  The film also analyzes social and cultural resistance in South Asia and the Diaspora to dealing with incest's causes and its effects on its victims.  This personal and collective letter from South Asian incest survivors and their advocates is both a validation of their struggle and a compelling charge to protect future generations of children better.
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    [id] => 298
    [title] => Closer
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    [year_released] => 2000
    [text] => An experimental documentary which has at its heart a poignant character study of a 17 year-old lesbian living in Newcastle, England, CLOSER innovatively explores the process of documentary filmmaking and boldly challenges traditional forms of storytelling.  Produced without a script and in close collaboration with the subject, Annelise Rodger, the filmmaker presents a hypnotizing array of montages and fictive sequences to introduce the day-to-day happenings of this extraordinary person. From the streets of Newcastle – where we find Annelise speaking frankly to the camera about her experiences as a young lesbian – to the emotionally charged reenactment of her coming out to her mother, this highly original film provides a rare auto-portrait where fiction and documentary collide.  In the end what emerges is not only a remarkable encounter with a young woman, but also a story that has broader implications about being young, being at the cusp of adulthood, and finding one's identity.  A Bridge & Tunnel Production.
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    [id] => 301
    [title] => Beyond Voluntary Control
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    [year_released] => 2000
    [text] => Acclaimed filmmaker Cathy Cook (THE MATCH THAT STARTED MY FIRE) breaks new cinematic territory by devising a new visual language that explores the psychological and emotional effects of physical confinement in her latest film, BEYOND VOLUNTARY CONTROL.  Stimulating the senses through haunting and poetic images, the film imaginatively conveys the obsessions, phobias and illnesses constricting personal freedom.  While lyrically meditating on the limits of the body, Cook incorporates the evocative movements of modern dancer, David Figueroa, and blends a mesmerizing soundtrack set to the poems by Emily Dickinson and Sharon Olds.  Through Figueroa’s gestures and dance, along with a moving interview of Cook’s own mother suffering from Parkinson’s, the film succeeds in humanizing and reconciling the effects of physical metamorphosis and stasis.  Through artistry and visual astuteness, BEYOND VOLUNTARY CONTROL innovatively investigates the limits of human physicality and movement.
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    [id] => 286
    [title] => Women Organize!
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    [year_released] => 2000
    [text] => WOMEN ORGANIZE! is an inspirational, half hour film that portrays women organizers across the U.S. who are involved in the global struggles for racial, social, and economic justice.  In this film, we meet five women organizers of various backgrounds, peek at the campaigns they wage, and watch as they begin to pick up the tools to document their own transformative work.  From working with high schools girls in a low-income neighborhood in Oregon to speaking out for Black lesbians and gays against homophobia or working with Asian immigrant women factory workers in California for decent working conditions, WOMEN ORGANIZE  is an important film that should be used in women’s and ethnic studies classes and community based organizations.
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    [id] => 280
    [title] => Gaea Girls
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    [year_released] => 2000
    [text] => "This fascinating film follows the physically grueling and mentally exhausting training regimen of several young wanna-be GAEA GIRLS, a group of Japanese women wrestlers. The idea of them may seem like a total oxymoron in a country where women are usually regarded as docile and subservient. However, in training and in the arena, the female wrestlers depicted in this film are just as violent as any member of the World Wrestling Federation, and the blood that’s drawn is very real indeed. One recruit, Takeuchi, endures ritual humiliation not seen on screen since the boot camp sequences of FULL METAL JACKET. In DIVORCE IRANIAN STYLE, Kim Longinotto cinematically explored the previously unexplored world of the Tehran divorce courts. Working with co-director Jano Williams, Longinotto has been given access to shoot an insider’s verité account of this closely guarded universe." - Chicago Film Festival
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    [id] => 299
    [title] => Sisters in Resistance
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    [year_released] => 2000
    [text] => “This compelling documentary shares the story of four French women of uncommon courage who, in their teens and twenties, risked their lives to fight the Nazi occupation of their country. Neither Jews nor Communists, they were in no danger of arrest before they joined the Resistance. They could have remained safe at home. But they chose to resist. Within two years all four were arrested by the Gestapo and deported as political prisoners to the hell of Ravensbruck concentration camp, where they helped one another survive. Today, elderly but still very active, they continue to push forward as social activists and intellectual leaders in their fields. The film captures their amazing lives, and reveals an uncommon, intense bond of friendship that survives to this day.” - Human Rights Watch International Film Festival
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    [id] => 277
    [title] => Grrlyshow
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    [year_released] => 2000
    [text] => An 18 minute explosion of fringe feminism and print media, The GRRLYSHOW is a powerful and rebellious message from new voices often left unheard.  Filmmaker Kara Herold examines the girly Zine revolution and culture in such a way that the film intellectually and stylistically addresses anyone's question concerning whether or not feminism has reached it's 3rd wave: the postmodern.  By interweaving head-shot interviews, clips from the zines and 1950's television-esque vignettes, Herold clearly illustrates feminism's ability to exist subversively within a system that generally doesn't give women their own voice .  The GRRLYSHOW successfully brings to the surface alternative voices and projects that are vital to the continuation and expansion of feminism.  An excellent film for mass communication, women's studies and pop culture courses.

"A perky peek at the alternative media community where self-publishing gals are doin' it for themselves. Aware, irreverent, entertaining, even brilliant, these zine creators relish the irony that to speak in one's unique unfettered voice is to touch others more powerfully than with the traditional blanded-down mainstream mag approach. Viva the grrly zines!"  Al Hoff, Pittsburgh City Paper & Creator, Thrift Score zine
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    [id] => 276
    [title] => 900 Women
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    [year_released] => 2000
    [text] => “The Louisiana Correctional Institute is located in the swamps of southern Louisiana in the small town of St. Gabriel. Built in 1970 to house an increasing population of female convicts, today it houses the state's most dangerous female prisoners and often exceeds its population capacity of 900.  75% of these are mothers and one fourth of them are serving sentences of fifteen years or more. The prison compound has a surreal quality; there are no searchlight-capped towers or barbed wire fences. Filmmaker Khadivi delivers a striking, sensitive portrait of life in this deceptively peaceful atmosphere, which is filled with stories of life on the streets, abuse, freedom, childbirth and motherhood. Six women - a grandmother, a young high school student, a pregnant woman, a recovering heroin addict, a prison guard, and the only woman on death row - were brave enough to share their frustrations and hopes. Produced by Academy Award-nominated filmmaker Jonathan Stack ("The Farm").”  - Human Rights Watch Film Festival Catalogue
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    [title] => A Boy Named Sue
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    [year_released] => 2000
    [text] => Julie Wyman's compelling documentary chronicles Theo's transformation from a woman to a man over the course of six years. The film successfully captures Theo's physiological and psychological changes during the process, as well as their effects on his lesbian lover and community of close friends. Taking full advantage of the unlimited access she received into an extraordinarily personal process, Wyman carefully composes a moving story about gender identity, relationships, and how even things that seem permanent can change.

"A BOY NAMED SUE is one of the best videos to date on female-to-male trans[gender] experience. Wyman spent six years taping Sue's transformation into Theo and then organized a huge archive of material into a moving, informative and smart rendering of what a difference sex reassignment surgeries can make not only to the transgender individuals but also to all those in their immediate circle. Theo is a great subject and Wyman is a talented and imaginative documentarian."  Judith Halberstam, University of California, San Diego
    [image] => https://www.wmm.com/storage/films/a-boy-named-sue/cbe_boysue_catalogbox.jpg
)

Array
(
    [id] => 293
    [title] => Filming Desire:
    [link] => stdClass Object
        (
            [url] => https://www.wmm.com/catalog/film/filming-desire
            [title] => more
        )

    [image_thumb] => https://www.wmm.com/storage/films/filming-desire/320x-fildes_hires.png
    [created_at] => Array
        (
        )

    [year_released] => 2000
    [text] => “In this bold documentary Marie Mandy asks the question: how do women directors film love, desire, and, especially, sexuality?  In rare interviews with many of the leading women directors working in the world today – including Sally Potter, Agnès Varda, Catherine Breillat, Doris Dörrie, Deepa Mehta, Moufida Tlatli, Safi Faye, and Jane Campion – FILMING DESIRE: A JOURNEY THROUGH WOMEN'S CINEMA directly engages the sexual politics of cinematographic choice.

Powerfully illustrated with film clips from their own work, the directors discuss the reality of an explicit women’s point of view, the possibility of a women’s cinematic language, and the desire in their films to ‘fantasize and dream a new image of themselves’.  While discussing how their depictions of sexuality and relationships are correctives, they also reflect on the sexual differences in selection of image, shot, and story.  The film also provides a virtual anthology of the debates about the body, sexuality, power, and passion one sees in contemporary feminist and film theory: the body in representation and image; as a subject of censorship; as the vehicle of desire and love; as the contested ground of cinematic production; and as part of women’s identity and voice.  

Explicit, funny and beautifully edited, FILMING DESIRE weaves an intriguing essay that is international in scope and reflective of the great diversity of women filmmakers.  Essential viewing for classes in women’s studies, film studies, sexuality, body image, and feminist theory.” – Joseph Boles, Visiting Scholar, Center for Visual Culture, Bryn Mawr
    [image] => https://www.wmm.com/storage/films/filming-desire/fildes_hires.jpg
)