The Women Of Cradley Heath Streaming Avec Sous Titres En Français

Women getting on and riding Tehran-Rey railway tram.

"Gentle Women" refer to the carpet as a phenomenon of Soviet and post-Soviet household culture. What functions and symbols are now endowed with an object that previously testified to the prosperity and well-being of the owner? What is the carpet for? For beauty and warmth, or to hide flaws and hide flaws? Repeating seemingly simple everyday actions in the frame, the participants of the performances create new rituals that appeal to collective and personal memory.

Directed by Yin Cheng.

15 women returning from a meeting see a pregnant woman being raped by three men. They simply walk away. The woman loses her unborn infant and commits suicide. Her fiance finds out their identity and plots vengeance.

A shy engineer with the help of his friend tries to meet girls.

Directed by Yutaka Abe.

Ethnographic film

A man is haunted successively by seven women who have lost their keys. He reacts to the request that he be allowed to use the toilet with increasing helplessness and despair, which is discharged in violence.

Anti-war documentary about relations between Serbs and Albanians during 1999 bombing of Yugoslavia.

In modern day Iran, a female attorney fights for the custody of her seven year old diabetic son following a divorce from her husband. When the courts rule against her, she takes desperate actions that lead to tragic events.

When Bete Kaebauk, who lives in Atambua, NTT, started getting her period, she was “introduced” by her own father, Fritz Manek, that she was ready for a marriage proposal. Emilio was the first man Bete fell in love with. They both like it. But Emilio wanted to be a priest. Alfredo's presence for a moment made him happy. Despite having different social classes and Alfredo being unable to pay the dowry for his marriage, Bete decides to elope with Alfredo. Bete's life is not as beautiful as he imagined. He gets violent treatment from Alfredo. Bete forced to return home pregnant. On the way, the baby died in her womb. He rages like a madman and keeps him locked up in his house. Emilio who has become a brother returns to his village and tries to treat Bete as one of his congregation. He put Bete in the rectory, and took care of her. Alfredo did not accept it and together with several residents went to the rectory.

An atmospheric portrait of four women who leave the factory where they work to go to the beach.

Documentary film by Duan Jinchuan

From the personal to the political, the experiences of diverse women speak of how masculinized and violent the streets still are nowadays. In three insightful conversations with female friends, collaborators and high school students, the director looks for a discourse about fear that is not fearsome, a discourse on violence that is not violent. Direct cinema, horizontal process, self-criticism and narrative breaks. Mostly, this is a tale of universal sorority.

A married couple on the edge of breaking up decide to fix their relationship, by taking part in a swingers meeting. But it comes out that the wife wasn't ready for the aftermath.

Life is difficult for Ana. Desperate for resources, and struggling with nascent adulthood in machista Mexico, she doesn't know where to turn. When she finds a bag of money, Ana believes her dreams have been answered. But, as she'll find out, life is rarely so simple, with possible severe repercussions for her family. The owners of the money want it back, and have sent a merciless "fixer" named Mataoh to clean up the mess, including setting the incompetent toughs straight who lost the bag in the first place. Ana's only hope for survival is her is Tia Naomi. "NA," a tough woman raised in the desert, has a reputation for meting out justice to sexist men who abuse women. Who will find Ana first?

Margarethe von Trotta, one of the few icons of German directing, internationally revered as a star director, celebrates her 80th birthday: her works are among the most important in German cinema of all time.

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

Japanese crime film