Eight Pan-Asian female filmmakers’ powerful anthology film illuminates the immigrant experience in Aotearoa New Zealand through the lives of eight Asian women connected by the house they call home.

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.

Investigates the politics of cinematic shot design, and how this meta-level of filmmaking intersects with the twin epidemics of sexual abuse/assault and employment discrimination against women, with over 80 movie clips from 1896 - 2020.

Anna is a young woman hunted by memories of her stepfather. After the death of her stepfather, Anna goes out partying with her friends before preparing to face her past in a family reunion.

Daughter explores the way women are viewed in society by following three female characters on a Friday night out in St Kilda, who's lives become entwined and affected by an act of violence this fateful night. The award winning short film and an awareness project was inspired by the tragic murder cases of Jill Meagher in Brunswick and St Kilda's own Tracy Connelly, whose occupation as a sex worker was highlighted in the media, leading to her murder and personal story being sadly overshadowed. The main themes explored in the film are violence against women and victim blaming, shown through the eyes of three female leads, lead by Katherine Langford (13 Reasons Why) as Scarlett, Aisha Tara (Heartbreak High) as Jemma and Carolyn Rey as Alethea.

A multi-awarded 23 minute short film about pansexual punk rockers in a toxic relationship in London’s underground music scene

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.

Meg, a millennial painter with ADHD, navigates her life on the way to a job interview. What starts as a simple task turns into a race against the clock as she encounters society’s stigmas, unlikely allies, and challenges from her past.

During the last moments of a romantic involvement with an older man, Martina finds herself deeply overwhelmed by disappointment and confusion, left alone to question who she really is.

A story told in four parts, "He" explores the swell of poetic love and the breathless aftermath of its heartache.

A Woman is a Flower is about the bond between two sisters who are dealing with two very different and heavy struggles.

The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.