Based on the well-loved Australian classic by Mrs. Aeneas Gunn, this is the remarkable true story of Jeannie Gunn, a woman who fought to overcome sexual and racial prejudice amid the harsh beauties of the outback. Leaving her Melbourne existence for a new life on her husband's isolated ranch, Jeannie's feisty, good-natured attitude soon wins over the misogynistic stockmen, but she faces a much tougher challenge in trying to change their racist attitudes towards the indigenous aboriginal population.

A bored lawyer and a suffragette vie for the attention of a faith healer's charismatic daughter.

A lonely young widow lives with her son following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.

In a remote Turkish village, a timid young man is haunted by his childhood and the mysterious death of his sister. Nightmares and unsettling visions draw him into an inevitable descent, as his reality begins to fracture. A poetic exploration of memory, loss and the psyche.

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Moa is in her early 20s, works at a factory and lives by herself in a cottage in the forest. She is a vegan and follows her friends and demonstrations, mostly to fit in. But at home, by herself, she listens to pop music and use make-up.

It is the summer of 1984 in Schmalenstedt, in the middle of Holstein Switzerland, directly on the Baltic Sea. The 17-year-old Malte Ahrens, who calls himself Roddy Dangerblood, lives with his elderly parents in a farmhouse, is trained as a potter and has discovered for himself the punk that has made its way into Schmalenstedt with some delay.

Kristina, a self-named Hungarian female lion tamer, arrives in New York to become a dance choreographer. Kristina, now a middle-class NYC artist concerned about the environment, has a sailor lover named Raoul. The film, a collage work, an essay film, a fictional narrative and a documentary all rolled into one, is one of the most important independent American feminists films made during the 1970's.

A group of bored teenagers rebel against authority in the community of New Granada.

An obsessive, insubordinate homicide cop is convinced a serial killer is loose in the Hollywood area and disobeys orders in order to catch him.

A docu-drama shot in 1970, but not completed until 1973, the film sought to encapsulate in an experimental form issues that were under discussion within the Women’s Liberation Movement at this time and to thus contribute to action for change. In its numerous community screenings, active debate was encouraged as part of the viewing experience.

The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.