In a small and remote Latin American mountain village, all the men are recruited to fight in the country's civil war. Left to fend for themselves, the women of the town, led by Rosalba, slowly emerge from their supporting roles as wives and daughters to become unwitting founders of a remarkable new society: an all female utopia. When the men, led by an American reporter, return to try to reclaim their power, a clash of sexes ensues with unsuspected consequences.
Frank Hart is a pig. He takes advantage of the women who work with him in the grossest manner. When his three assistants manage to trap him in his own house, they assume control of his department, and productivity leaps, but just how long can they keep Hart tied up?
A young woman who has just started a job at an art museum writes an email to a friend she lived with until recently. The other woman, also young, works as an artist and has just moved to a new city. A narrator reads this email, but we don't know which of the two women the voice belongs to, whether to the sender or to the receiver of the message. Neither are we aware of the details of this relationship; but what we do know is that, in addition to their interest in art, they share a concern for the difficulties of carrying out their personal and professional lives in the present. By focusing on the peripheral or hidden details of some paintings in the Bilbao Fine Arts Museum, this narrator relates several stories linked to the social, economic and psychological conditions of the artists, both past and present.
On a train trip out west to become a mail-order bride, Susan Bradley meets a cheery crew of young women traveling out to open a "Harvey House" restaurant at a remote whistle-stop.
Two beautiful and different girls, Alice and Lisette are 17 years old, when forcibly removed from their Alsatian family to cooperate in the war effort in Germany. After spending six months in a indoctrination camp, they are both sent to a munitions factory where they are tasked to perform inhuman works. An explosion erupts, they are suspected of sabotage and threatened with being sent to a boot camp. Alice and Lisette believe they saved when transferred to a maternity where they continue living the hell of war.
Sanda spends all her time working in a plastic factory, raising her two small children and catering to an indifferent husband, leaving little room for herself. A chance encounter with another man may offer her an escape from her daily chores.
The Unknown Woman is a documentary film scripted and directed by Elina Kivihalme. It depicts the reality of Finnish agriculture and forestry during the war years, when the home front relied entirely upon the work and endurance of the women. All farm work, caring for the children, woodcutting and other forestry operations were undertaken by the civilians, as the men in their prime were on the front.
The stories of several young women who work in a 'precision optical instruments' factory during the second World War. Despite illness, injury, and tremendous personal hardship, the women persevere in their tasks, devoted to their work and their country's cause.
Army sergeants Dave and "Fixit" spend a three-day pass in Pasadena, where they meet Janet and Cora, two young women who work in a parachute factory.
In this film, Hanne Krogh meets some of the women of the sea. From the Viking woman to the world's first and only submarine captain who is Norwegian.
In 1910, women working in the silk industry in Bursa, protest against the working conditions. They go on strike.
The film describes a strike in a French textile factory, when the striking workers occupy the factory.
The documentary by Mari Soppela focuses on glass ceilings, a metaphor for the invisible borders between men and women in work life. Talk about glass ceilings is usually associated with women’s opportunities to advance to well paid managerial positions, but the documentary connects itself more broadly to the structural problems of work life from women’s perspective. Glass ceilings are long trials about equal pay, having to continually prove one’s skills, and 85-cent euros. The topic cannot be handled without intersectional crossings: what are invisible glass ceilings for some, are solid concrete for others.
In the near future, a young animator is offered what should be her dream job, but, when she discovers the truth of the modern 'creative' process, she must make a hard choice about her passion for film.
This animated short challenges enduring myths, spawned by fairy tales and romances, about women in medieval society. It explores the differences and similarities between that distant period and our own, and shows what medieval women’s lives were really like.
Since the cult success of Merci Patron!, activist/journalist/filmmaker François Ruffin has become an MP. Here, he attempts to table a law aimed at upholding the rights of what in Quebec are known as caregivers, and shows us in passing how a law whose need seems patently obvious is put together, debated, voted on and . . . dies on the battleground of French politics. A stirring documentary about social injustice that somehow manages to make us bust a gut laughing as we rage with indignation. And also cry at the beauty of it all, thanks to the director’s humanist sensibility and a deft play between reality and fiction.
A young girl working in a textile workshop is desperately trying to save money to make her father quit his job and find an apartment together with her. But her father does not seem to be the person she wants him to be.
Carla Haddad Mardini was born with bombs blasting at the worst period of the Lebanese Civil War.
She embarked on a career in the humanitarian field where she experienced a meteoric rise, quickly holding leadership positions, first at the ICRC and now at UNICEF in New York.
One of her greatest successes is to have overcome the challenges of combining harmonious family life with an intense professional career.