The acclaimed filmmaker remarked, “It’s still so shocking to me that in current times the big, white, strong man with the big voice holds any appeal to anybody.”
As the Cinémathèque Québécoise pays homage to some of the notable women who have stepped behind the camera and “painted with light,” critic Justine Smith considers why their work is often underrecognized.
Kitty Green’s latest film is as much about societal acceptance of sexual misconduct as it is about the indignities that many workers face in the office, especially younger women.
To get the fullest picture of the artist requires traveling back through her filmography, a joyful opportunity provided by Film at Lincoln Center’s series Varda: A Retrospective, which opens today and runs through January 6.
The documentary Delphine et Carole: Insoumuses looks at Les Insoumuses, the ’70s group founded by director Carole Roussopoulos, iconic actress Delphine Seyrig, and Simone de Beauvoir.
Seeking to upend the male-dominated canon but directed by a man, Women Make Film: A New Road Movie Through Cinema defies some hierarchies while reinforcing others.
The latest edition of the Fantasia International Film Festival continued its trend of elevating female filmmakers.
Director Catherine Hébert talks to Hyperallergic about her new documentary Ziva Postec and the mystique of film editing.
Almost four years after her death, My Mother Laughs, the last book by the pioneering director, has been translated into English.
Kino Lorber is crowdfunding an effort to rerelease more than a dozen movies made in the US by female directors between 1910 and 1929.