The British Film Institute recovered an article originally published by the specialized magazine Sight & Sound titled “The female gaze: 100 overlooked films directed by women”. That text counts a hundred films from around the world directed by women that have been overlooked or practically forgotten.
Next, we will mention one film per decade —from the 1910s to the 2010s—, alluded to in Sight & Sound. Each title of films directed by women is accompanied by a synopsis and also by the comment of a contributor to the original text. Celebrated women who contributed include female filmmakers Greta gerwig, Claire denis and the already happened Agnes Varda.
The movies directed by women you should know:
The Ocean Waif (Dir. Alice Guy-Blaché, 1916)
Synopsis: In a fishing village, Millie is taken in by an abusive man, who beats her and forces her to work as a slave. Later, the protagonist flees and finds love in a famous novelist who corresponds to her feelings.
“The woman [Alice Guy-Blaché] who inserted the instruction ‘be natural’ prominently in his study directs two now obscure names, [los histriones] Doris Kenyon and Carlyle Blackwell, as lovers united by chance, “he wrote Pamela hutchinson. “Each member of the pair has the same screen time, but it is Kenyon who radiates like a pleasantly minimized fish out of water. The joy with which Blackwell ‘discovers’ that Kenyon is not a ghost, but flesh and blood, is contagious. “
La coquille et le clergyman (Dir. Germaine Dulac, 1928)
Synopsis: Also known as La Concha and the Reverend, it is an experimental film with surrealist overtones. It tells the story of a priest who, through erotic hallucinations, covets the wife of a general.
According to legend, it caused an uproar during its premiere in February 1928 when several surrealists objected to the differences between the film and Antonin Artaud’s script […] despite the fact that Artaud said he was satisfied with the interpretation of Dulac, “he wrote Juliet Jacques. «The poetic qualities of La Concha and the Reverend they shine: with its seething sexuality, dreamlike overlays and fractured perspectives, it remains the most sensual attempt to transfer surreal sensibilities to film. “
Nobody’s wife (Dir. Adela Sequeyro, 1937)
Synopsis: Ana María is a young woman who, mistreated by her stepfather, decides to run away from home. Later, she meets three bohemian men who become her protectors … but also her lovers. However, the muse will only correspond to the love of one of them.
«[Adela Sequeyro] became the first woman director of Mexican talkies with Nobody’s wife. She was also a producer, screenwriter, editor and beautiful protagonist of this film set in the 19th century, “he wrote Daniela michel. «A year later, Sequeyro directed his second and last film, Suburban Imps […] She made both films with her own production company, but her commercial failure led her to leave directing and go back to being a respected film journalist. “
Death is a Caress (Dir. Edith Carlmar, 1949)
Synopsis: Erik is an auto mechanic who, while still engaged, begins an affair with Sonja Rentoft, an older, married and wealthy woman. Between them there is a passionate and stormy relationship that will gradually become more and more problematic.
«Death is a Caress It was the first Norwegian film directed by a woman and the first film noir from the country. It doesn’t look like a not to go: flooded with sunlight, the film breathes clean and healthy northern air, scented with pine trees and brine from the seashore, “he wrote Imogen Sara Smith. «[Los personajes] they come from different worlds. He is inexperienced, she is hysterical; they have fits of jealousy and bad temper; their fights begin to turn violent. How a healthy and normal relationship that encounters few obstacles ends in despair and blood is the dark thread of this unusual film: an everyday melodrama. “
Insult (Dir. Ida Lupino, 1950)
Synopsis: Ann Walton is a young accountant who envisions a happy life with her future husband. One night, however, all bliss fades when the protagonist is harassed on the way home, leaving work, and finally raped.
«[Ida Lupino] She was clearly interested in telling stories centered on women, from a woman’s point of view, and this story tries to portray the profound effect that sexual assault can have, ”she wrote. Josephine botting. “Although the censors removed all references to rape from the script, and the psychology is simplistic and clumsy, the film remains a powerful example of the work of one of Hollywood’s pioneering female directors.”
Wings (Dir. Larisa Shepitko, 1966)
Synopsis: Nadezhda Petrukhina was a fighter pilot during World War II, faithful to the Stalinist regime. After the war, she now works as a provincial school teacher, but her mind still lies in the sky and in her military training.
«As a portrait of a woman in all her frustration, strength, shrugged acceptance and longing for lost love, both of a flying machine and of a man, [esta película] is insurmountable, “he wrote Kate muir. «Wings was Russian director Larisa Shepitko’s first feature film after film school, and her realistic style is combined with exquisite cinematography […] If she hadn’t died in a car accident at age 40, we could be talking about her on the same level as her contemporaries Andrei Tarkovsky and Elem Klimov. “
Girlfriends (Dir. Claudia Weill, 1978)
Synopsis: Susan Weinblatt is a Jewish photographer, based in New York, who lives off odd jobs and dreams of success. One day, she begins to experience loneliness when her roommate finally decides to get married and leave.
“When I saw Girlfriends, I felt like the movie had been made just for me. I can’t write about it analytically, so here are some pieces that I love, ”he wrote. Greta gerwig. «The face of [el personaje] Susan, when she smiles, is filled with such joy that it makes me smile. Painting the wall red by herself. The way time jumps and then stops. When Susan goes to see the rabbi for what she thinks will be an afternoon affair, she takes off her glasses. Then when he can’t do it because his family is there, she rushes out of his office. Crying, she puts her glasses back on. »
Woman Demon Human (Dir. Huang Shuqin, 1987)
Synopsis: Qiu Yun is an acclaimed opera actress who, going against tradition, specializes in male roles, such as that of Zhong Kui, a benevolent demon. His career, although successful, is not without a struggle against conventions or his own personal conflicts.
“A ‘fourth generation’ filmmaker, Huang Shuqin, had to wait until the end of the Cultural Revolution to be able to direct. Hailed as the first feminist film in China, Woman Demon Human [Ren gui qing] was overshadowed by Chen Kaige and Zhang Yimou’s fifth-generation films, which stole the spotlight, ”he wrote. Bérénice Reynaud. «[Esta película expresa] the plight of an exceptionally gifted young woman – inspired by the real-life opera singer Pei Yanling – who strives, in a male-dominated world of the performing arts, to achieve her dream. “
An Angel at My Table (Dir. Jane Campion, 1990)
Synopsis: It is an adaptation of the series of autobiographies conceived by New Zealand author Janet Frame. Exploring her childhood, adolescence and adulthood, we learn about the life of a woman from a poor family, interned in a mental institution, and her subsequent devotion to letters.
“This is not only a great film by a great director – of course, there could never be any doubt about it – but for the first time I felt that there was a film that could only have been made by one woman, this woman. [Jane Campion]. And not only as a filmmaker, but as a woman as a whole, brave, brave as a human being can be “, he wrote Claire denis. “This is not a film about the heroic and tormented fate of a brave woman … No, it has something deeper, more urgent than to declare about cinema and women.”
Martha … Martha (Dir. Sandrine Veysset, 2001)
Synopsis: Despite her precarious financial situation, Martha decides to drag her husband Reymond and their six-year-old daughter on a vacation to Spain, just to talk to her sister. It is the third part of a film trilogy about childhood traumas.
“The script is bold in a way that makes us feel like depression can build up, regardless of the circumstances,” he stated. Agnes Varda. «I like Valérie Donzelli as Martha, a mixture of violence and sadness […] I like Yann Goven as Martha’s husband, playing the role of a helpless helper. The girl, half abandoned by her parents, echoes Martha’s difficult childhood. I want to emphasize how adept Veysset is at making us share in Martha’s confusion and contradictions. “
Middle of Nowhere (Dir. Ava DuVernay, 2012)
Synopsis: When her husband is sentenced to eight years in prison, Ruby drops out of medical school to focus on her husband’s well-being, leading her on a journey of self-discovery in the process. She must decide what she really wants.
“While her name may sound like some Hollywood fanfare, there is still reason to say that the graceful layers in Ava DuVernay’s art continue to be underrated,” she stated. Jan Asante. This is emphatically true of the underrated greatness of Middle of Nowhere, DuVernay’s second feature film and a curiously little-seen gem […] It is a poignant exploration of femininity, love, betrayal and ultimately rebirth, charmingly woven in shades of lavender and sepia. “
Movies directed by women. Come in here to see the full list of the 100 forgotten or overlooked films that were directed by women.
The entry Forgotten Films, Directed by Women, of the Last Hundred Years was first published in Cinema PREMIERE.