women directors
Manifesto, based on an art exhibit, contains an incredible multi-role performance by Cate Blanchett, but it doesn’t add up to a coherent film.
Mr. Roosevelt is about discovering changes about yourself when confronting your past, poignantly wrought by first-time director Noël Wells.
Lady Bird is an inspired coming-of-age story by first-time solo director Greta Gerwig, containing a plethora of dynamic performances to boot.
The Divine Order tells a powerful and relatable story regarding women’s suffrage and the right to vote in 1970s Switzerland.
It Happened in L.A. is a refreshingly realistic portrayal of relationships, showing how we chase ideals that are often impossible to fulfill.
You Were Never Really Here is a rare film that is conclusive proof that a great director can elevate familiar source material.
Feeling both vitally important and imminently personal, The Light of the Moon is as remarkable as its title is poetic – and twice as powerful.
It may take certain liberties with the truth, but Professor Marston and the Wonder Women is still an enjoyable, inspirational biopic.
Whilst it has many problems, Maya Dardel is a prickly, contentious and fascinating film that knows with absolute certainty what it is.
Mini-series Fucking Adelaide premieres at Adelaide Film Festival on October 8 – Alex Lines spoke with Director Sophie Hyde.
By the Time it Gets Dark is a cinematic classic that will beg to be watched, decided and marvelled at, time and time again.
In Between is a compelling study of Arab women in today’s Tel Aviv that’s delightful and eye-opening in equal measure.
The documentary The Apology tells the story of three Asian women whose lives have been turned upside down by the trauma of sexual slavery.
The Passion of Augustine offers glimpses into life before womanhood sets in and all the growing pains that come with this journey.
Lacking substance or exploration of themes, The Bad Batch is a pointless post-apocalyptic, psychedelic trip to nowhere-land.
