Saturday, June 25, 2022

Contras' City / City of Contrasts (2021 The Film Foundation / World Cinema Project restoration)


Djibril Diop Mambéty: Contras' City (SN 1968).

Senegal 1968. Director: Djibril Diop Mambéty. Scen.: Djibril Diop Mambéty. M.: Jean-Bernard Bonis, Marino Rio. Mus.: Djimbo Kouyaté. Int.: Inge Hirschnitz, Djibril Diop Mambéty. Prod.: Kankourama. DCP. Col. 15 min
    This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the FEPACI and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore and disseminate African cinema.
    French and Wolof version with English subtitles.
    From: The Film Foundation, Filmmakers for Film Preservation.
    Restored in 2021 by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata and L’Image Retrouvée laboratories. Funding provided by the Hobson/Lucas Family Foundation. The 4K restoration of Contras’ City was made from the internegative as well as the original sound negative provided by Teemour Mambéty and preserved at LTC Patrimoine. A vintage print of the film was used as reference for color grading.
    Il Cinema Ritrovato 2022: Cinemalibero.
    Introduced by  Cecilia Cenciarelli e Elena Correra
    Viewed with e-subtitles in Italian by Chiara Belluzzi et al. at Cinema Jolly, Bologna, 25 June 2022

Aboubakar Sanogo (Il Cinema Ritrovato 2022): " There is hardly any better way to enter the world of Djibril Diop Mambéty than through Contras’ City, his 1968 manifesto-like city symphony classic. In it, he literally offers the theory of his cinema and his theory of cinema: “The cinema is the art of making the contingent necessary, essential, inescapable, incontrovertible.” Indeed, Roland Barthes would have defined it as “The Cinema of the Punctum”, discernible primarily through the casting of the irreverent, playful and poetic gaze on the real. "

" Contras’ City is cast as an impressionistic and dialogical tour of Dakar, Senegal’s metropolis, in which Mambéty paints the contradictorily plural identities of his city through its arch tecture ([neo]classical colonial European through Islamic), hints at its politics caught between legacies of colonialism, reigning neocolonialism, and aspirations to emancipated subjecthood, reveals its cultures shaped by the forces of Negritude, Christianity, Islam and modern, secular and cosmopolitan worldliness. Like Dakar, the film is a tour de force, which carries multiple identity papers, partaking at once in registers of the poetic, the observational, the reflexive, the ironic/humorous/comedic, the interactive, the subjective, the class-conscious, in short, the essayistic.
" Aboubakar Sanogo

AA: A lovely, inspired, irreverent city symphony of Dakar, based on playful associations, satirical observations of the clash of cultures, and an irresistible joy of life conveyed in vivid colour and a panache in the soundtrack.

Ples v dežju / Dancing in the Rain


Boštjan Hladnik: Ples v dežju / Dancing in the Rain (YU 1961)

YU 1961. Director: Boštjan Hladnik. Sog.: from the novel Črni dnevi in beli dan (1958) by Dominik Smole. Scen.: Boštjan Hladnik. F.: Janez Kališnik. M.: Kleopatra Harisijades. Scgf.: Niko Matul. Mus.: Bojan Adamič. Int.: Duša Počkaj (Maruša), Miha Baloh (Peter), Rado Nakrst (Anton), Ali Raner (suggeritore), Joža Zupan (Magda), Arnold Tovornik (autista), Janez Jerman (direttore del teatro), Janez Albreht (cameriere). Prod.: Dušan Povh per Triglav film. 35 mm. 98’. Bn
    Print from Slovenska Kinoteka, courtesy Slovenski Filmski Center
    Slovenian version with English subtitles
    Il Cinema Ritrovato 2022: “Tell the Truth!” – A View Into Yugoslav Cinema.
    Viewed with e-subtitles in Italian by Underlight at Cinema Jolly, Bologna, 25 June 2022

Nerina T. Kocjančič: " In 1961, a peak year for European film modernism, and as Jean-Luc Godard was enjoying great success with A Woman Is a Woman, director Boštjan Hladnik also delved into the world of a woman and a love triangle in his debut Ples v dežju. "

" The film was first presented at the Pula Film Festival, Yugoslavia’s leading event dedicated to showing the country’s cinema and equally committed to championing the achievements of its constitutive republics. "

" Hladnik had shot the film after returning from Paris, where he had assisted Claude Chabrol and frequented the Cinémathèque. He stated that his film had been “made in a creative atmosphere similar to the one in France”. "

" Yet the atmosphere Hladnik found when he returned home was dark and pessimistic. This was perhaps the main reason he chose this novel by Dominik Smole – Črni dnevi in beli dan (Black Days and White Day), an impossible love story with no happy ending. The director himself called Ples v dežju a kind of “black melodrama”, involving a number of unhappy love relationships."

" We have the downcast painter Peter (Miha Baloh), unlucky theatre actress Maruša (Duša Počkaj), who loves Peter but is not wanted by him, and the shy, anonymous Prompter (Ali Raner) in love with Maruša. The fourth figure in the film is Mr Anton (Rado Nakrst), Peter’s elderly flatmate, who constantly spies on him. Present in the background is a young couple who perform the dance of ‘ideal’ lovers throughout the film. "

" The novel rejects convention and is written almost entirely in the associative manner. We can begin to appreciate how the text lends itself to Hladnik’s typically modernistic treatment, which elegantly interweaves the real with the imaginary. By further complementing the modernistic approach with classical film language, Hladnik shows his mastery of film art and confirms Ples v dežju among the unique works of cinema.
" Nerina T. Kocjančič

AA: Distinctions of Ples v dežju / Dancing in the Rain include striking imagery, a compelling dream mode, engaging performances by the actors, an appealing sensuality and vivid scenes of Slovenian life (school, theatre, the bustle of a big city, Ljubljana?). As indicated by the title, this is a rain movie, and the cinematic, oneiric possibilities of rain are fully understood. A basic tension arises from the fact that Maruša (Duša Počkaj) is a more mature woman, and the artist Peter (Miha Baloh) is having a hard time relating to that. The beginning of the film is exciting, but it does not proceed very much from the initial surface excitement to deeper and richer revelations.

Thursday, June 16, 2022

Babi Yar. Kontekst / Babi Yar. Context


Sergei Loznitsa: Бабин Яр. Контекст / Babi Yar. Context (NL/UA 2022).

Бабин Яр. Контекст / Babi Yar. Context
    NL/UA 2022. PC: Atoms & Void / Babyn Yar Holocaust Memorial Center.
Sergei LOZNITSA Director
Sergei LOZNITSA Script / Dialogue
Tomasz WOLSKI Film Editor
Danielius KOKANAUSKIS Film Editor
Sergei LOZNITSA Film Editor
Vladimir GOLOVNITSKI Sound
    A compilation film about the Holocaust in Ukraine.
    In black and white with some colour in Academy (1,37:1).
    121 min
    Languages: Ukrainian, Russian, German, Polish.
    Festival premiere: 11 July 2021 Cannes Film Festival
    Russian festival premiere: 12 Oct 2021 Moscow Jewish Film Festival
    Finnish festival premiere: DocPoint online 31 Jan 6 Feb 2022.
    Version with English credit sequences, intertitles and subtitles viewed at Lapinsuu, Midnight Sun Film Festival, Sodankylä, 16 June 2022.

Synopsis (Cannes Film Festival):

"On September 29-30, 1941, Sonderkommando 4a of the Einsatzgruppe C, assisted by two battalions of the Police Regiment South and Ukrainian Auxiliary Police, and without any resistance from the local population, shot dead in the Babi Yar ravine in the north-west of Kiev 33 771 Jews. The film reconstructs and visualises the historical context of this tragedy through archive footage documenting the German occupation of Ukraine and the subsequent decade. When memory turns into oblivion, when the past overshadows the future, it is the voice of cinema that articulates the truth."

AA: The more I read and watch about the Holocaust, the harder it gets.

Sergei Loznitsa's Babi Yar: Context is the strongest work I have read or seen about the massacre near Kiev in September 1941. The film is based on original documents. There are distant views, panoramic shots and tracking shots that document the epic scope of WWII in Ukraine. When Nazis occupy Kiev, Soviet partisans detonate much of the city centre. In revenge, Nazis organize a massacre of the Jews in Babi Yar.

Nazis attempt to erase all signs. Loznitsa conveys the massacre via several ways: the void itself, a montage of colour photographs of remaining objects, and documentation of a parallel massacres in Lviv and in Lubny (in Poltava) on 16 Oct 1941; those photographs are extraordinary. We get to read from Vasily Grossman's "In Ukraine There Are No Jews". We see the report given to American journalists after the liberation of Kiev. Most movingly we see witness statements from the actress Dina Pronicheva, one of the rare Babi Yar survivors, and one of the executioners, SS private Hans Isenmann. Like in Claude Lanzmann's Shoah, the voice testimony of those who were there makes us feel the presence of the unimaginable. There is a stunning sequence of the public hanging in Kiev of war criminals including Isenmann.

Besides Shoah, Loznitsa's film is equally about the context: the pervasive and persistent antisemitism in Ukraine and Russia. The persecuted Jews were not convincingly protected, and after the war, the Soviet Union tried to erase signs of the massacre. But: "The past is never dead. It's not even past" as William Faulkner wrote in Requiem for a Nun.

I have seen the first Babi Yar movie, Mark Donskoy's Nepokoryonnye / The Unvanquished (SU 1945). The Soviet Union was the first country to make films about Nazi death camps: Maidanek (about Lublin, 1944) and Auschwitz / Oswiecim (1945), both in Poland. Donskoy was the first to make a film about Holocaust in the USSR. These movies belong to the anti-fascist continuum in Soviet cinema, including films such as Professor Mamlock and The Oppenheim Family (both 1938) covering anti-Jewish persecutions in Germany. The trend had been launched during the earliest years of Soviet cinema. For instance Dziga Vertov in his early newsreels had documented anti-fascist slogans in the First of May demonstrations of 1923. But there were macabre reversals, particularly during the Molotov-Ribbentrop pact and from the end of WWII till the death of Stalin.

Babi Yar was covered by bold poets like Yevgeny Yevtushenko (1961) and Ilya Ehrenburg (1944 / 1959) but not by film-makers. Mikhail Romm's Everyday Fascism (1965) was a key film of the Thaw in this respect, one of the Trojan horses of Soviet cinema: while officially about Hitler, it was equally about Stalin.

Sergei Loznitsa's movie contributes powerfully to the uneasy coming to terms with the past in Ukraine and Russia.

In a sidenote about Finland, Finnish volunteers in the Waffen-SS entered the front in 1941 and early 1942, in units of the SS Division Wiking. In July 1941 they participated in Operation Barbarossa in conquering Ukraine in Ternopil, along the Dnieper River, north of Rostov-on-Don, and along the Mius River. Having fought on the Caucasus front and Stalingrad they retreated across the Don back to Ukraine.

The official view in Finland during the Cold War was that Finnish SS men knew nothing, saw nothing and did nothing related to the Holocaust. There is even a Finnish SS movie, Aseveljeyden sankarit ([Heroes of the Brotherhood in Arms], FI 1943, free online on Elonet) which portrays Operation Barbarossa as warfare as usual, including in Ukraine in Husiatyn / הוסיאַטין‎ (Ternopil Oblast), Kremenchuk, Dnipropetrovsk, along the Dnepr and in Zaporizhzhia.

But for instance Heikki A. Reenpää (19222020), a giant in Finnish culture, reports in his memoirs Pojanpoika (1998) that he heard already in 1942 in a report on Ukraine from a Finnish SS veteran about mass executions, destructions of villages and houses in which inhabitants were burned alive. Images that we see in SS home movies in Loznitsa's film.

...

PS 24 June 2022

More about the context: from correspondence with a friend:

" The historical context of this massacre includes the horrific pogroms in Ukraine after World War I that killed at least 100,000 and inured the local population to genocidal violence against Jews. "

An article in The New York Review of Books this month covers three recent books on the topic:
Magda Teter, Rehearsal for Genocide 6/9/2022
https://www.nybooks.com/articles/2022/06/09/rehearsal-for-genocide-pogroms-magda-teter/

Magda Teter: " Approaching the history of World War I and its aftermath from three different vantage points, Bemporad, Granick, and Veidlinger each conclude that the shocking anti-Jewish assaults of 1918–1921 help to explain what would take place a generation later. The “unprecedented” scale of destruction and “the performativity of violence against Jews” can now be seen, Granick argues, as a “bridge” to the Holocaust. According to Veidlinger [Jeffrey Veidlinger, In The Midst of Civilized Europe: The Pogroms of 1918–1921 and the Onset of the Holocaust], the pogroms and what they stood for became “an acceptable response to the excesses of Bolshevism,” leaving a heritage of social tolerance for killing Jews. In 1941, therefore, when the Nazis invaded the territories of what is today Ukraine, they were able to mobilize the local population to do their dirty work, since it “had become inured,” he says, “to bloodshed and primed to target Jews in ethnic violence.” Furthermore, the connection between Bolshevism and Jews, as well as the nexus of anti-Semitism and opposition to Soviet rule discussed by Bemporad, made the atrocities of World War II less shocking. "

" In the end, of course, the Nazis did most of the killing, but it was in Ukraine and Poland that they first grasped (Veidlinger again) “that the physical extermination of the Jewish population need not remain a utopian fantasy but could actually be realized.” On September 29, 1941, Germans shot to death nearly 34,000 Jews in about thirty-six hours in a ravine in Kyiv called Babyn Yar (more commonly known by its Russian name, Babi Yar). The site, which as a lieu de mémoire has been claimed and contested by many groups, was damaged by a Russian missile on March 3, 2022. "
/…/
" The stories Bemporad, Granick, and Veidlinger tell in their very different books remind us how much our world is an heir to the violent legacy of World War I. Yet they also show, as the war in Ukraine underscores, that perhaps we do not have to be trapped in this past. Slava Ukraini is no longer a slogan of the perpetrators of anti-Jewish violence; it is a slogan of a country defending liberal democratic values, whose president is a descendant of Holocaust survivors. "

BEYOND THE JUMP BREAK: INFORMATION FROM ATOMS & VOID:

Yevgeny Yevtushenko: Babi Yar (a poem, 1961)


Yevgeny Yevtushenko (1933–2017). Photo: Remember.org.

PBS Auschwitz Learning Guides (2005): "Yevgeny Yevtushenko, a Russian poet born in 1933, wrote this poem in 1961 in part to protest the Soviet Union's refusal to identify Babi Yar, a ravine in the suburbs of Kiev, as a site of the mass murder of 33,000 Jews on September 29–30, 1941. Dmitri Shostakovich's “Thirteenth Symphony” is based, in part, on this poem."

" Source: The Collected Poems 1952–1990 by Yevgeny Yevtushenko. Edited by Albert C. Todd with the author and James Ragan (Henry Holt and Company, 1991), pp. 102–104. Used with permission of the author.
"

No monument stands over Babi Yar.
A drop sheer as a crude gravestone.
I am afraid.
            Today I am as old in years
as all the Jewish people.

Now I seem to be
                         a Jew.
Here I plod through ancient Egypt.
Here I perish crucified on the cross,
and to this day I bear the scars of nails.

I seem to be
            Dreyfus.
The Philistine
             is both informer and judge.
I am behind bars.
                        Beset on every side.
Hounded,
             spat on,
                         slandered.
Squealing, dainty ladies in flounced Brussels lace
stick their parasols into my face.

I seem to be then
                         a young boy in Byelostok.
Blood runs, spilling over the floors.
The barroom rabble-rousers
give off a stench of vodka and onion.

A boot kicks me aside, helpless.
In vain I plead with these pogrom bullies.
While they jeer and shout,
                                          'Beat the Yids. Save Russia!'
Some grain-marketer beats up my mother.

O my Russian people!
                                    I know
                                                you
are international to the core.
But those with unclean hands
have often made a jingle of your purest name.

I know the goodness of my land.
How vile these antisemites—
                                                without a qualm
they pompously called themselves
the Union of the Russian People!

I seem to be
                            Anne Frank
transparent
                            as a branch in April.
And I love.
                            And have no need of phrases.
My need
                            is that we gaze into each other.
How little we can see
                            or smell!
We are denied the leaves,
                                                         we are denied the sky.
Yet we can do so much—
                                                         tenderly
embrace each other in a darkened room.

They're coming here?
                                    Be not afraid. Those are the booming
sounds of spring:
                                    spring is coming here.
Come then to me.
                                    Quick, give me your lips.

Are they smashing down the door?
                                                            No, it's the ice breaking . . .
The wild grasses rustle over Babi Yar.
The trees look ominous,
                                    like judges.
Here all things scream silently,
                                                and, baring my head,
slowly I feel myself
                                     turning grey.

And I myself
                       am one massive, soundless scream
above the thousand thousand buried here.
I am
           each old man
                                   here shot dead.
I am
           every child
                                   here shot dead.

Nothing in me
                                   shall ever forget!
The 'Internationale,' let it
                                                          thunder
when the last antisemite on earth
is buried for ever.

In my blood there is no Jewish blood.
In their callous rage, all antisemites
must hate me now as a Jew.
For that reason
                        I am a true Russian!

Surprising Beginnings: Reading 1.4. Copyright © 2004-2005 Community Television of Southern California (KCET)
https://www-tc.pbs.org/auschwitz/learning/guides/reading1.4.pdf

Ilya Ehrenburg: Babi Yar (a poem, 1944)


Pablo Picasso: Ilya Ehrenburg, "pour Toi mon ami", 29 août 1948. From: Rupert Moreton, at Lingua Fennica, 10 Jan 2018.

What use are words and what’s a pen,
When on my heart this rock is weighing,
When like a convict’s ball and chain
Another’s burden I’m conveying?
I used to be a city-boy,
And life for me was full of pleasure,
But now in deserts without joy
The graves I dig are all my treasure.
Now every deep ravine I’ve seen,
And home to me is each ravine.
I have become this woman’s cherished –
Whose hand I kissed once years ago –
And yet on earth before I perished
This woman then I did not know.
My dear one! See my scarlet blushes!
And all the kin I cannot count!
Your screams my ears assault in rushes
From every pit their echoes mount.
Our strength we’ll gather, then ascending
With rattling bones we’ll start to knock –
Where breathe, with bread and fragrance blending,
The cities where still people flock.
Turn out the lights. Pull down flags’ dressing.
It isn’t us – ravines are pressing.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

К чему слова и что перо,
Когда на сердце этот камень,
Когда, как каторжник ядро,
Я волочу чужую память?
Я жил когда-то в городах,
И были мне живые милы,
Теперь на тусклых пустырях
Я должен разрывать могилы,
Теперь мне каждый яр знаком,
И каждый яр теперь мне дом.
Я этой женщины любимой
Когда-то руки целовал,
Хотя, когда я был с живыми,
Я этой женщины не знал.
Мое дитя! Мои румяна!
Моя несметная родня!
Я слышу, как из каждой ямы
Вы окликаете меня.
Мы понатужимся и встанем,
Костями застучим – туда,
Где дышат хлебом и духами
Еще живые города.
Задуйте свет. Спустите флаги.
Мы к вам пришли. Не мы – овраги.

Ilya Ehrenburg, 1944, first published in Novyi Mir, this is the later version published in 1959. Only the later version was titled "Babi Yar".
Translation by Rupert Moreton, at Lingua Fennica, 10 Jan 2018.

Vasily Grossman: Ukraine Without Jews (1943) quote in Sergei Loznitsa: Babi Yar. Context


Vasily Grossman with the Red Army in Schwerin, Germany, 1945. From: Wikipedia. Source: Keith Gessen "Under Siege" (The New Yorker, 6 March 6, 2006). Fair use.

" In Ukraine there are no Jews. Nowhere—not in Poltava, Kharkov, Kremenchug, Borispol, not in Iagotin."

"You will not see the black, tear-filled eyes of a little girl, you will not hear the sorrowful drawling voice of an old woman, you will not glimpse the swarthy face of a hungry child in a single city or a single one of hundreds of thousands of shtetls. Stillness. Silence. A people has been murdered."

"Murdered are elderly artisans, well-known masters of trades: tailors, hatmakers, shoemakers, tinsmiths, jewellers, housepainters, furriers, bookbinders; murdered are workers: porters, mechanics, electricians, carpenters, furnace workers, locksmiths; murdered are wagon drivers, tractor drivers, chauffeurs, cabinet makers; murdered are millers, bakers, pastry chefs, cooks; murdered are doctors, therapists, dentists, surgeons, gynecologists; murdered are experts in bacte-riology and biochemistry, directors of university clinics, teachers of history, algebra, trigonometry; murdered are lecturers, department assistants, candidates and doctors of science; murdered are engineers, metallurgists, bridge builders, architects, ship builders; murdered are pavers, agronomists, field-crop growers, land surveyors; murdered are accountants, bookkeepers, store merchants, suppliers, managers, secretaries, night guards; murdered are teachers, dressmakers; murdered are grandmothers who could mend stockings and bake delicious bread, who could cook chicken soup and make strudel with walnuts and apples; and murdered are grandmothers who didn’t know how to do anything except love their children and grandchildren; murdered are women who were faithful to their husbands, and murdered are frivolous women; murdered are beautiful  young women, serious students and happy schoolgirls; murdered are girls who were unattractive and foolish; murdered are hunchbacks; murdered are singers; murdered are blind people; murdered are deaf and mute people; murdered are violinists and pianists; murdered are three- year-old and two-year-old children; murdered are eighty- year-old elders who had cataracts in their dimmed eyes, cold transparent fingers and quiet, rustling voices like parchment; murdered are crying newborns who were greedily sucking at their mothers’ breasts until their final moments. All are murdered, many hundreds of thousands, millions of people."

"This is not the death of individuals at war who had weapons in their hands and had left behind their home, family, fields, songs, books, customs and folktales. This is the murder of a people, the murder of homes, entire families, books, faith, the murder of the tree of life; this is the death of roots, and not branches or leaves; it is the murder of a people’s body and soul, the murder of life that toiled for generations to create thousands of intelligent, talented artisans and intellectuals. This is the murder of a people’s morals, customs and anecdotes passed from fathers to sons; this is the murder of memories, sad songs, and epic tales of good and bad times; it is the destruction of family homes and of burial grounds. This is the death of a people who had lived beside Ukrainian people for centuries, labouring, sinning, performing acts of kindness, and dying alongside them on one and the same earth.
"

Vasily Grossman: "Ukraina bez evreev" ("Ukraine Without Jews"), Eynikayt 25 Nov + 2 Dec, 1943. Translated by Polly Zavadivker, Jewish Quarterly 58, 1 [2011], p. 13. Quote in: Sergei Loznitsa: Babi Yar. Context (2021).

Saturday, May 28, 2022

MC Helper beKINGs


Kaitsu Walfrid Rinkinen: MC Helper beKINGs (FI 2022).

FI 2022. PC: Rabbit Films Oy Ltd / KR-Produktio Oy. P: Minna Haapkylä, Sanna Kultanen, Eve Särkänne, Janne Kaperi. EX: Olli Suominen.
    D+SC: Kaitsu Walfrid Rinkinen. Cin: Miska Karioja. AD: Janne Kaperi. Cost: Eve Särkänne. Makeup: Emma Räsänen. Masters of explosions: Pommi-Henkka, Paukku-Jussi. M: Tuomas Kantelinen. S: Kimmo Perkkiö. ED: Miska Karioja.
    C: Kaitsu Walfrid Rinkinen / Räkä        
Janne Kaperi / Liima        
Tuomas Rinkinen / Töhö        
Joel Hirvonen / Spägä        
Celin El Azizi / Herkku        
Sami Kemell / Kullervo        
Tommi Korpela / Mustakäsi        
Jenni Kokander / pitseriapomo        
Tatu Sinisalo / Köntsä        
Ilona Chevakova / Hammaskeiju        
Emppu Kainulainen / Könni        
Markku Suonsivu / Mönni        
Jussi Pulkkinen / poliisi 1        
Matti Roth / poliisi 2        
Sara Chafak / Herkun kaveri bensiksellä
Bilebändi: Portion Boys, Kenraali Vahva, El Meissel, JaloTiina, Taiteilija Nieminen, A. P. Vuori.
    Loc: Punkaharju, Savonlinna, Savitaipale, Outokumpu.
    100 min
    Finnish premiere: 22 April 2022 – distributed by Aurora Studios Oy – rated 12.
    Viewed at Finnkino Strand 3, Iso Kristiina, Lappeenranta, 28 May 2022.

Official presentation: "MC Helper beKINGs on kevään 2022 päräyttävin leffatapaus, joka pistää kokeneemmankin katsojan kiertokanget solmuun ja öljyt sekaisin!

Räkä (Kaitsu Walfrid Rinkinen) kuskaa leipätyökseen pitsoja ja vapaalla aika kuluu mopomiiteissä. Räkä ja Liima (Janne Kaperi) löytävät miitissä yhteisen taajuuden ja heidän silmissään alkaa siintää ykkössija Harjuajoissa. Mopokerho MC Helper on syntynyt.

Räkän pitsahommat lähtevät keulimaan ja pomo (Jenni Kokander) ottaa pultit. MC Helperin menestys moposkaboissa taas vaatisi vielä viritettyä Orkkis Mankia ja tankkia täynnä ysiviitosta. Kun lisäksi Räkä, Liima ja porukan uusin vahvistus Köntsä (Tatu Sinisalo) sotkeutuvat isomman mopokerhon, MC Mustakäden, pärinäbisneksiin, ajautuvat suunnitelmat sivuluisuun. MC Mustakäden pomo (Tommi Korpela) ja ykköskuski Spägä (Joel Hirvonen) vetävät kierroksia ja omaa agendaansa ajava Herkku (Celin El Azizi) saa tunnelman tiivistymään entisestään. Mäyhemi on valmis.

Luvassa on räjähdysherkkä soppa, joka tarjoillaan rusentuneiden mäntien, mustaksi hakattujen ruumiinosien, revittyjen hampaiden sekä sydänsurujen kera.

* * * * * * *

Toimintakomedia on suosittujen MC Helper -lyhytelokuvien esiosa ja taustatarina, joka kertoo, kuinka MC Helper -mopokerhon stoori alkoi. MC Helperin on luonut stunt-sketsiryhmä Biisonimafia, ja sen matkaa teatterileffaksi on seurattu Ylen Punkaharjun pojat -sarjassa. Punkaharjun pojat on tämän kevään Kultaisen Venlan Vuoden ohjelma -palkinnon yleisöäänestyksen finalisti.

Kaksi ensimmäistä MC Helper -lyhäriä julkaistiin vuosina 2015 ja 2016 YouTubessa, jossa ne ovat keränneet miljoonia näyttökertoja. Kolmas, lyhytelokuvista pisin, MC Helper 3, julkaistiin Elisa Viihde -palvelussa, jossa se oli yksi vuoden 2018 katsotuimmista elokuvista.

Nyt MC Helper, ”Suomi-Tuben oma Sons of Anarchy”, nähdään ensimmäistä kertaa pitkänä valkokangaselokuvana. MC Helper beKINGs on oma itsenäinen elokuvansa, mutta saanut alkunsa näiden aiemmin tehtyjen, tarinallisesti myöhempään ajoittuvien lyhytelokuvien katsojien toiveesta.

Elokuvassa nähdään niin MC Helper -lyhäreistä tuttuja kuin Suomen viihdetaivaalta tunnettuja näyttelijöitä. Pääosissa keulivat Kaitsu Rinkinen, Janne Kaperi, Tuomas Rinkinen, Joel Hirvonen, Celin El Azizi ja Sami Kemell. Sivuvaunussa näyttelevät myös Tommi Korpela, Jenni Kokander, Tatu Sinisalo, Ilona Chevakova sekä Suomen Tube-skenen ykkösnimiä. Leffan upeista mopotempuista vastaavat maan kovimmat stunt-kuskit.

MC Helper beKINGs kaahaa valkokankaille 22.4.2022!
" (Official presentation)

AA: A feature-length action comedy about moped gangs heading towards a big contest called Harjuajot (Ridge Races).

MC Helper beKINGs is a dream come true for its creators, 16 years in the making, following a cycle of shorts released on YouTube, Elisa Viihde and Yle the Finnish Broadcasting Corporation. There is a backstory about drug smuggling behind the facade of pizza deliveries, handled with a spoof attitude.

The interaction of professionals and non-professionals is seamless in front of the camera and behind.

This is genre cinema. The film-makers know the conventions well but instead of doing pastiche, they use them as means of expression for original comedy. The movie is an exercise in style, and the instinct for style is impeccable. Everything is carefully synchronized, including the performances. The action setpieces are impressive and well photographed. The score is by the maestro Tuomas Kantelinen, and there is an engaging soundtrack of songs by the likes of Portion Boys with their retro 1990s techno beat approach and humoristic lyrics.

MC Helper beKINGs is not a profound statement but a perfectly kinetic showcase of genre energy.

Friday, May 27, 2022

Toiset äänet / The Other Voice


Annika Grof: Toiset äänet / The Other Voice (FI 2022).


FI 2022 Tarasow Films. P: Joon Tervakari.
    D+SC+CIN: Annika Grof. M: Ville Riippa. S: Pietari Koskinen. ED: Joon Tervakari.
    A documentary film on the University Law (24.7.2009/558).
    Featuring: Jukka Kekkonen, Gaela Keryell, Lena Näre, Taina Saarikivi
    89 min
    In Finnish, English, French, subtitled in Finnish and English.
    Festival premiere: 3 Feb 2022 DocPoint.
    Finnish premiere: 27 May 2022.
    Viewed at Finnkino Strand, Iso Kristiina, Lappeenranta, 27 May 2022.

Official synopsis:

"On vaalikevät 2019. Jukka, professori Helsingin yliopistosta, kävelee ensimmäistä kertaa kansanedustajaehdokkaana vaalistarttitilaisuuteen. Hän on päättänyt muuttaa surkean yliopistolain, vaikka yksin. Samaan aikaan opetuksen ja tieteen ammattilaiset, Gaela, Lena ja Taina, käyvät omaa kamppailuaan pystyäkseen opettamaan ja tutkimaan. Oikeustaistelu, irtisanomiset, resurssien puute ja toimimattomat rakenteet. Kovin vastus on kuitenkin neljän vuoden välein vaihtuva koulutus- ja tiedevastainen maan hallitus, jonka paikalle on näissäkin vaaleissa ruuhkaa."

"DocPointissa ensiesityksensä saanut Toiset äänet on Annika Grofin särmikäs ja popahtava kollaasielokuva neljästä yliopistolaisesta ja yhdestä kuvaajasta. Elokuva peilaa yliopistojen traagista tilaa lähihistorian poliittisiin kiemuroihin paljastaen samalla demokraattisen järjestelmämme valuvikoja.
"

Synopsis in English:

"It is parliamentary election spring 2019. Jukka, a professor from the University of Helsinki and a first time candidate, is walking to the kick-off event, and is determined to change the lousy University Act. At the same time, education and science professionals, Gaela, Lena and Taina, go through their own battle to be able to teach and research - struggling with law case, layoffs, lack of resources and dysfunctional structures. However, the biggest resistance is The Finnish anti-education and anti-science Government, which changes every four years."

"The Other Voice is Annika Grof’s edgy and popping collage film about four academics and one cinematographer. The film reflects the tragic situation of the university to the recent past's national political twists and turns revealing the future guidelines of Finnish democracy.
"

AA: Finns are a small people, but we are great in culture and education, both now in danger.

The focus here is in the devastating University Law (24.7.2009/558) and the punishing cuts that have followed. Legislated by the clueless politicians that formed the government, and not rectified by other parties that formed the opposition at the time. Based on a short-sightedness typical of an era living in the immediate present, unable to grasp long-term consequences.

The themes are epic, but in this film they are treated in a way so haphazard that it is almost comically disproportionate with the gravity of the matter at hand.

I have appreciated Annika Grof's previous films, Liikkumavara / Within Limits (2009) and Syksyn jälkeen saapuu kevät / Sygyzyn jälles tulou kevät / There Will Be Spring (2020), both breaking new ground. This movie is not of the same caliber.

Thursday, May 26, 2022

Top Gun: Maverick


Joseph Kosinski: Top Gun: Maverick (US 2022) starring Tom Cruise as Pete "Maverick" Mitchell. "The last remaining global star who still only makes movies for movie theaters. He hasn’t ventured into streaming. He hasn’t signed up for a limited series." (Nicole Sperling: "Hollywood’s Last Real Movie Star", in The New York Times, 20 May 2022).

Top Gun: Maverick / Top Gun: Maverick.
    US © 2022 Paramount Pictures. PC: Skydance Media and Don Simpson/Jerry Bruckheimer Films. P: Jerry Bruckheimer, Tom Cruise, Christopher McQuarrie, David Ellison.
    D: Joseph Kosinski. SC: Ehren Kruger, Eric Warren Singer, Christopher McQuarrie. Story by: Peter Craig, Justin Marks. Based on: characters by Jim Cash, Jack Epps, Jr.
    Cin: Claudio Miranda. Colour. IMAX 1.90:1. Other: 2.39:1. Shot on 6K IMAX. Source format: X-OCN ST 6K. Master format: 4K. Camera: Sony CineAlta Venice IMAX. Release formats: 4K DCP, also 3D.
    PD: Jeremy Hindle. AD: Clint Wallace. Cost: Marlene Stewart. Makeup: Elena Arroy. Hair: Jules Holdren. VFX: Method Studios, MPC, Lola VFX,  Lux Machina. M: Lorne Balfe, Harold Faltermeyer, Lady Gaga, Hans Zimmer. "Hold My Hand" (Lady Gaga). "Great Balls of Fire" (Otis Blackwell, Jack Hammer) in singalong. S: James Mather, Al Nelson, Bjorn Ole Schroeder. ED: Eddie Hamilton..
    C: Tom Cruise, Jennifer Connelly, Miles Teller, Jon Hamm, Glen Powell, Lewis Pullman, Ed Harris, Val Kilmer, Monica Barbaro (in more detail beyond the jump break).
    Filming dates: 3 Sep 2018 – July 2019.
    131 min
    Festival premiere: 18 May 2022 Cannes.
    Finnish premiere: 26 May 2022 released by Finnkino with Finnish / Swedish subtitles by Marko Hartama / Janne Staffans. Rated 12.
    Viewed at Finnkino Strand, Iso Kristiina, Lappeenranta, 26 May 2022

AA: The anticipation is high already in the lobby and the queues to ticket counters. A Kawasaki motorcycle is on display, photo opportunities are eagerly utilized. It's a party before the screening has even started. Already in the lobby I know that this movie will be a success.

In Finland, the months from Easter till Midsummer are typically a "Death Valley" for cinema releases. Our short summer is about to start, and people prefer to enjoy sunny afternoons and evenings outdoors. It takes a special film to change this behaviour.

I have enormous respect for film-makers with a strong instinct for what is popular in the cinema. It is wizardry. The risks are enormous. The makers of Top Gun: Maverick know what they are doing. This is not my kind of cinema, but I watch it with admiration.

Performance-wise, this is more one-sidedly a Tom Cruise vehicle than the original Top Gun which had a more evenly balanced star cast. Story-wise, what I like in this film most is the theme of team spirit. My favourite is the beach ball scene where the admiral asks what the hell is going on when urgent rehearsals should be happening. Maverick tells him that the play is about building the team and its dynamics.

The cast is up to date in terms of diversity and gender, The female characters are subjects, they have agency. Admiral Tom "Iceman" Kazansky (Val Kilmer) is handicapped with a speech disability and expresses himself best via sms. Like in the original, there is a potent gay current in the movie. The women are no token women, but male bonding is fundamental.

The plot is a thrilling adventure story. The circumstances and the vehicles seem to be of documentary accuracy.

I am a fan of aviation movies and its masters including William A. Wellman (Island in the Sky) and Howard Hawks (Air Force). The original Top Gun belonged to the 1980s turbocharged action wave, whose true creators in my opinion were producers like Don Simpson/Jerry Bruckheimer (Top Gun) and Joel Silver/Lawrence Gordon. They represented an architectural school or an approach of the industrial/military complex. The appetite for speed and destruction was interesting to speculate from a Paul Virilio approach. They were relevant for post-modernism, simultaneously glorifications and dystopias of a culture of consumption and instant gratification. Films of emptiness and about emptiness.

The opening test pilot sequence still belongs to Paul Virilio territory. It is about meeting the Mach 10 speed objective and pushing further into high-hypersonic speed. It's also a Kantian sequence: the destiny of human understanding is to set itself tasks that transcend its own limitations.

Tony Scott, to whom this movie is dedicated, was a director able to sustain a profile of his own in the turbocharged school. Jerry Bruckheimer is till producing, and Tom Cruise has selected the director Joseph Kosinski.

This is a star-driven film, and Tom Cruise is ageing well and carrying the challenges of responsibility and maturity in a new way. It's no longer about showing who is best but bringing the team to the dangerous mission and back alive.

In a parallel to the James Bond series, Maverick faces the fact that he is a man of the past. In James Bond's world, espionage has turned to cyberspace. In Maverick's world, the emphasis in increasingly in unmanned aircraft like drones. The era of the dogfights is being consigned to history. The virtual is replacing the real. Robots are substituting humans.

Pete Mitchell remains true to his "Maverick" nickname, but the pressure and the adversities keep growing. The pain and the suffering are getting harder to take. All this is written on the map of Tom Cruise's face. The past is always present. We keep seeing those forever young.

Tom Cruise is a solid audience draw, and this film is guaranteed to revive it once again. Tom Cruise treats his audience with respect, and this, in return, commands respect.

PLOT FROM WIKIPEDIA:

Saturday, May 14, 2022

The Happy Worker


John Webster: The Happy Worker – Or How Work Was Sabotaged (FI 2022).

The Happy Worker – miten työ sabotoitiin / The Happy Worker – Or How Work Was Sabotaged.
FI © 2022 Yellow Film & TV. P: Marko Talli.
    D+SC: John Webster. Cin: Jarkko T. Laine, Sun Ryung Kim. Graphic design: Jussi Turunen. Second screenwriter and line producer: Eveliina Kantola. M: Olav R. Øyehaug. S: Yngve Leidulv Sætre. ED: Kimmo Taavila, John Webster.
    A non-fiction film.
    Feat: Bernardo Alves, Gemma Faires, David Graeber, Jim Harter, Tiejo Keppler, Eunawn (Hazel) Lee, Christina Maslach, Carlotta Servadio, André Spicer, Vanessa Törnblom.
    82 min
    Original in English.
    Festival premiere: 24 March 2022 CPH DOX
    Finnish premiere: 6 May 2022 – released by SF Studios – with Finnish / Swedish subtitles (n.c.).
    Corona precaution: none.
    Viewed at Finnkino Strand 3, Iso Kristiina, Lappeenranta, 13 May 2022
   
Official synopsis: " THE HAPPY WORKER takes us behind the shiny corporate facades to reveal the systemic problems that plague the workplace: from a culture of silence, fake change and incompetent managers, to how we educate our children. The film is laced with humour and irony, but without losing sight of the very real consequences the toxic workplace has for the health and happiness of the people who work there. "

" Guiding us on this journey are, among others, the late great anthropologist and activist David Graeber (Debt: The First 500 years, Bullshit Jobs) and the Berkeley-based pioneer of burnout research, psychologist Christina Maslach
. " (official synopsis)

AA: Its sunny title notwithstanding, The Happy Worker is a critical documentary exposé about the deterioration of working life in contemporary society. John Webster's has created an upbeat film on a devastating subject. The film is substance-driven, briskly edited and packed with illuminating resumes. Webster states his case sharply but without exaggeration and populism.

Alienated labour has been discussed at least since the young Marx (Economic and Philosophic Manuscripts of 1844). In Finland for instance Juha Siltala has written an epic survey called Työelämän huonontumisen lyhyt historia : muutokset hyvinvointivaltion ajasta globaaliin hyperkilpailuun ([A Brief History of the Deterioration of Working Life : Changes from the Era of the Welfare State to Global Hyper Competition], 2004).

John Webster has been inspired especially by the case of Nokia: how an exceptional team spirit was destroyed by bad management, a subject also discussed in other high profile films such as Arto Koskinen's excellent Nokia Mobile (2018).

The subject is topical globally. We all know people whose capacity is ignored or diminished in their work. It is not even a question of fair pay. Belittling commitment and wasting talent can be soul-destroying.

Reportedly Sigmund Freud was once asked what a normal person should accomplish well, and his answer was: "to love and to work". Though apocryphal, it is a good maxim that also appears in Leo Tolstoy's correspondence. G. W. F. Hegel thought that work is the essential means for an individual to participate in society. We are discussing our very being.

Personally, I'm currently happy with the best teams I have ever worked with. I have increasingly realized that nothing is more important than a good team spirit. "A happy ship is an efficient ship", as Captain Kinross (Noël Coward) stated in In Which We Serve (1942). No matter how great the adversity (such as the current crisis in world cinema), with a good esprit de corps it can be a joy to meet.

John Webster, a distinguished veteran in documentary film, has been creating exceptional work recently. Eye to Eye (2020) was about families meeting murderers of their children. Donner – privat (2021) was based on the last, frank interview of the great Jörn Donner.

The human dimension is central also in Webster's new film, focusing on the ordeals of committed workers who have experienced bad management and burnout. It should be ideal viewing for workplaces who want to discuss, improve and change.

BEYOND THE JUMP BREAK: A WORD FROM THE DIRECTOR (IN FINNISH):

Tuesday, April 19, 2022

Gerald Peary's poll on women filmmakers (April 2022 on Facebook)


Chantal Akerman: Jeanne Dielman (BE 1975) starring Delphine Seyrig.

Gerald Peary: "Thanks to 139 astute individuals from around the world--Canada, Australia, France, England, Sweden, Finland, etc.--for participating in my poll for your Ten Favorite Fiction Features Directed by Women. For the curious, these were the thirty films which appeared on the most ballots:"

THE TOP THIRTY
31 votes: Jeanne Dielman (Chantal Akerman)
30 votes: Cleo from 5 to 7 (Agnes Varda)
29 votes: Vagabond (Agnes Varda)
28 votes: Daisies (Vera Chytilova), The Piano (Jane Campion)
26 votes:  Beau Travail (Claire Denis), The Hitch-Hiker (Ida Lupino), Wanda (Barbara Loden)
22 votes: Daughters of the Dust (Julie Dash)
21 votes:  Fast Times at Ridgemont High (Amy Heckerling)
20 votes:  Seven Beauties (Lina Wertmuller)
19 votes:  The Hurt Locker (Kathryn Bigelow)
18 votes: Europa Europa (Agnieszka Holland), Mikey and Nicky (Elaine May), Winter’s Bone (Debra Granik), The Heartbreak Kid (Elaine May)
17 votes: Angel at My Table (Jane Campion), Lost in Translation (Sofia Coppola)
14 votes: Dance Girl Dance (Dorothy Arzner), A New Leaf (Elaine May)
13 votes: Clueless(Amy Heckerling), The Bigamist (Ida Lupino), The Ascent (Larisa Shepitko)
11 votes: Le Bonheur (Agnes Varda), My Brilliant Career (Gillian Armstrong), Outrage (Ida Lupino), The Rider (Chloe Zhao)
10 votes: Nomadland (Chloe Zhao), Swept Away (Lina Wertmuller)
9 votes: Portrait of a Lady on Fire (Celine Sciamma)

Jim BeaverSean AxmakerJanet BergstromRobert HortonJohn HallEric MasunagaAmy GellerRob JaretAmy MonaghanLisa Jayne GordonClemence TaillandierMathew BainbridgeMelanie Lynn AddingtonAndrew LuriaAnne ThompsonLucia SmallSandy Flitterman-LewisDonald FarmerDavid HeslinAxel KuschevatzkyNat ChediakJoe EbbingerAllan ArkushLewis KlahrStephen RebelloChristian FontAndy KleinBruce PosnerKarl KaeferDerek LamMike MaggioreEric WerthmanGoldie EderMaitland McDonaghJohn PowersAlan ZweigPaul KornbluehMary Behrens

Lyn VausDick RavinJan LumholdtTom BrueggemannChristian MonggaardDante del CorsoTim MooreDean Michael KuehnSteven Charles BrownDenise WidmanPeter KempRichard BrodyTom MeekDennis FischerGene SeymourReece BeckettLouis BlackJerry CarlsonGeoff AndrewJohn PaizsMatthew SorrentoTerry Curtis FoxKevin DohertyJohn NedPatricia GrubenBarton BygTony Joe StemmeDavid AnsenDanny PearyChris FujiwaraPeg AloiEd SymkusDiane WaldmanHadley ObodiacPaul ByrnesKay ArmatageJayne LoaderPeter LynchMartin BradleyKiki FungWill AitkenStephen WinerSteven EricksonAnthony MannDiane CarsonMary FessendenAdrian MartinJack VermeeBeverly Walker

Jonathan MarlowStephanie PiroRick WinstonRussel HarveyDennis DelroghEvelyn RosenthalHolly Beth GarverDrew ToddBrecht AnderschDror IzharGina MarchettiJack MillerAntti AlanenLiz BurkeCarrie RickeySusan WloszczynaTanja BresanR-win HoutenbrinkJessica RosnerSteven PopeJoan HawkinsSteve ElworthMary DesjardinsPaul BrennerLarry HardestyOscar AderholdtDaniel KremerLaurentius KnappDavid StewartRick KelleyBrad StevensLaurent VachaudGregory RunfeldtDmitry MartovGraham FullerRobyn BahrAnnette InsdorfDennis DorosTim JacksonSteven PopePeter KeoughKevin StoehrRob RiberaGabe KlingerGregory Julian KlymkiwMaurie AlioffDennis DelaneyPaul Mollica

Axel Kuschevatzky
- Point Break
- Bound
- XXY
- The Hitch-hiker
- Seven Beauties
- Friends with Money
- A New Leaf
- Big
- Persepolis
- Winter's Bone

Joe Ebbinger
Thanks for the reminder, Gerry. The poster is of one of my favorites. So warm and empathetic for a teen sex comedy. And also hilarious.
Outrage (Lupino)
Cleo from 5 to 7 (Varda)
A New Leaf (May)
Swept Away (Wertmuller)
Fast Times at Ridgemont High (Heckerling)
Daughters of the Dust (Dash)
The Piano (Campion)
Lost in Translation (Coppola)
Hannah Arendt (von Trotta)
Lady Bird (Gerwig)

Andrew Luria
Gerald Peary. Cleo From 5 to 7. Daisies. The Hitchhiker. Wanda. The Heartbreak Kid. Terminal Island. Fast Times At Ridgemont High.Mrs Soffel. Near Dark. Love and Anarchy

Allan Arkush
In No particular order: Alice Guy Blache- Dick Whittington, Ida Lupino-The Outrage, Portrait of a Lady on Fire, The Piano, Daughter's of the Dust, Clueless, Vagabond, The Babdook, The Hurt Locker, High Tide. Missing is Lois Weber, A Girl Walks Home at Night, Ladybird, Desparetly Seeking Susan, 7 Beauties, and many more

Eric Werthman
I will try again:1. Cleo from 5 to 7 by Agnes Varda 2.Je Tu Il Elle by Chantel Ackerman 3.Daughters of the Dust by Julia Dash 4.I Can't Sleep by Clair Denis - not a perfect film but with extraordinary scenes 5.India Song by Marguerite Duras for "pure"originality and daring and 6.Love in a Fallen city by Ann Hui.
7. Detroit by Katheryn Bigalow 8. Working Girls by Lizzie Borden 9.The Piano by Jane Campion 10. It Felt Like Love by Eliza Hitman for a relatively contemporaty film that I liked. Still, it is hard to beat Agnes Varda: I would put her first film, La Pointe Courte as one of my favorites.

Lewis Klahr
I'm assuming narrative features? shorts w artist filmmakers would be an entirely different list. in no particular order: Merrily We Go to Hell-- Dorothy Arzner; Cleo From 5 to 7-- Agnes Varda; Wanda--Barbara Loden; The Intruder-- Clair Denis; The Bigamist-- Ida Lupino; La Captive- Chantal Akerman; Passing--Rebecca Hall; Boys Don't Cry-- Kimberly Peirce; The Power of the Dog-- Jane Campion; The Headless Woman-- Lucretia Martel

Stephen Rebello
Too disordered to order much of anything at the moment, but here goes -- Entre Nous/Coup de Fourdre, Cléo from 9 to 7, Mikey and Nicky, Seven Beauties, Beau Travail, Europa, Europa, Sugar Cane Alley, Persepolis, Antonia's Line, After the Wedding

Christian Font
Enough Said
Point Break
Gas Food Lodging
Whip It
Seven Beauties
Sleepless In Seattle
A New Leaf
Lost in Translation
Hester Street
Ravenous

Andy Klein
Real Genius (Martha Coolidge)
Heartbreak Kid (Elaine May)
The Piano (Jane Campion)
Strange Days (Kathryn Bigelow)
Autumn Moon (Clara Law)
Song of the Exile (Ann Hui)
35 Shots of Rum (Claire Denis)
Hester Street (Joan Micklin Silver)
Fast Times at Ridgemont High (Amy Heckerling)
The Connection (Shirley Clarke)

Bruce Posner
Here you go:
Passage from Finnegan’s Wake - Mary Ellen Bute
Nude on the Moon - Doris Wishman
Christmas on Earth - Barbara Rubin
The Cool World - Shirley Clarke
Beauty Becomes the Beast - Vivienne Dick
Born in Flames Lizzie Borden
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles - Chantal Akerman
The Deadman - Peggy Ahwesh, Keith Sanborn
La Coquille et le Clergyman / La Souriante Madame Beudet - Germaine Dulac
Antigone, Rites of Passion - Amy Greenfield
Film No. 4, Bottoms - Yoko Ono

Derek Lam
Gerald Peary three lists for the price of one! 🤗 the first is just to highlight titles i haven't seen many mention; the second is my actual ballot -- others have listed these & i imagine some will get enough votes to make it to the final rankings... the third are an additional dozen (mostly more recent films) i considered shortlisting:
neglected titles:
The Apple (Makhmalbaf)
Autumn Moon (Law)
Bluebeard (Breillat)
The Cool World (Clarke)
Fever (Holland)
I Was at Home, But (Schanelec)
Lives of Performers (Rainer)
The Mourning Forest (Kawase)
Riddles of the Sphinx (Mulvey)
Sup Sap Bup Dup (Tang)
heavy hitters: (*my ballot)
The Asthenic Syndrome (Muratova)
The Bigamist (Lupino)
La Captive (Akerman)
Cléo from 5 to 7 (Varda)
Daisies (Chytilová)
Daughters of the Dust (Dash)
The Eternal Breasts (Tanaka)
India Song (Duras)
The Intruder (Denis)
Wanda (Loden)
the more the merrier:
Atlantics (Diop)
Born in Flames (Borden)
Certain Women (Reichardt)
The Cloud in Her Room (Zheng Lu)
Detroit (Bigelow)
The Headless Woman (Martel)
Holy Smoke! (Campion)
Memories Look at Me (Song)
The Secret (Hui)
Strong Shoulders (Meier)
Toni Erdmann (Ade)
The Wonders (Rohrwacher)
thanks for doing this! 🥰

Alan Zweig
Mikey and Nicky, The hearbreak kid, The Hitchhiker, Humpday, First Cow, Bastards, In Darkness, Romance, Point break, The Rider (and this wasn't easy)
Gerald Peary
Alan Zweig Only one per director, not two Elaine May. You have several hours to substitute for one of them.
Alan Zweig
Gerald Peary take off heartbreak kid sadly and substitute Monster
Gerald Peary
Alan Zweig Thanks!

John Powers
My 10 in alphabetical order:
An Angel at My Table, Jane Campion
Cleo from 5 to 7, Agnes Varda
Daisies, Vera Chytilová
The Headless Woman, Lucrecia Martel
Mikey and Nicky, Elaine May
On the Beat, Ning Ying
River of Grass, Kelly Reichardt
Strange Days, Kathryn Bigelow
Toni Erdmann, Maren Ade
Wings, Larissa Shepitko

Melanie Lynn Addington
I decided to go all modern: Jennifer Kent, the Babadook; Ana Lily Amirpour, The Girl Who Walks Home Alone at Night; Jane Campion, The Piano; Penny Marshall, Big; Amy Heckerling, Fast Times at Ridgemont High; Chloe Zhao, Nomadland; Celine Sciamma, Petite Maman; Lynn Shelton; My Effortless Brilliance; Julie Dash, Daughters of Dust; Mira Nair; Monsoon Wedding.

Anne Thompson
1. The Piano by Jane Campion
2. Monsoon Wedding by Mira Nair
3. Zero Dark Thirty by Kathryn Bigelow
4. Winter’s Bone by Debra Granik
5. After the Wedding by Susanne Bier
6. Europa Europa by Agnieszka Holland
7. Nomadland by Chloe Zhao
8. Toni Erdmann by Maren Ade
9. A League of Their Own by Penny Marshall
10. One Sings, The Other Doesn’t by Agnes Varda

Maitland McDonagh
Velvet Vampire-Stephanie Rothman/Maedchen in Uniform-Leontine Sagan/In the Cut-Jane Campion/Morvern Caller-Lynne Ramsey/The Souvenir-Joanna Hogg/Jean Dielmanne...--Chantal Ackerman/The Bigamist-Ida Lupino/Orlando--Sally Potter/Nomadland--Chloe Zhao/Winter's Bone--Debra Granik

Mary Behrens
Vagabond
Jeanne Dielmann
Bright Star
High Tide
Nomadland
The Lost Daughter
Away from Her
Swept Away
Friends with Money
Europa Europa

Adrian Martin
Wanda (Barbara Loden) / A Woman's Revenge (Rita Azevedo Gomes) / La captive (Chantal Akerman) / Clueless (Amy Heckerling) / Blue Steel (Kathryn Bigelow) / Ratcatcher (Lynne Ramsay) / Cléo from 5 to 7 (Agnès Varda) / Notre mariage (Valeria Sarmiento) / The Asthenic SYndrome (Kira Muratova) / Daisies (Vera Chytilova)

Jack Vermee
Man, this was hard getting it down to ten! I had to eliminate so many films/filmmakers that I love. Here's my list: Jeanne Dielman – Chantel Akerman
A New Leaf – Elaine May
Beau Travail – Claire Denis
Morvern Callar – Lynne Ramsay
Sink or Swim – Su Friedrich
Lost in Translation – Sofia Coppola
La ciénaga – Lucretia Martel
Vagabond – Agnès Varda
American Dream – Barbara Kopple
Sweetie – Jane Campion
Gerald Peary
Jack Vermee Thanks, Jack, but switch American Dream for a fiction feature. No docs.
Jack Vermee
OOPS Okay -- Chilly Scenes of Winter by Joan Micklin Silver

Jim Beaver   ·
“First Cow” (Kelly Reichardt, 2020)
One Night in Miami” (Regina King, 2020)
“Little Women” (Greta Gerwig, 2019)
“Boys Don’t Cry” (Kimberly Peirce, 1999)
“Big” (Penny Marshall, 1988)
“The Hurt Locker” (Kathryn Bigelow, 2009)
“Monster” (Patty Jenkins, 2003)
“Europa Europa” (Agnieszka Holland, 1990)
“Yentl” (Barbra Streisand, 1983)
“Winter’s Bone” (Debra Granik, 2010)

Sean Axmaker
Finally getting it in, after a couple of nudges.
The Blot (1921) Lois Weber
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) Chantal Akerman
The Ascent (1977) Larisa Shepitko
Marianne & Juliane (1981) Margarethe von Trotta
Angry Harvest (1985) Agnieszka Holland
Vagabond (1985) Agnes Varda
The Piano (1993) Jane Campion
Beau Travail (1999) Claire Denis
La Cienaga (2002) Lucrecia Martel
The Hurt Locker (2008) Kathryn Bigelow

Robert Horton
Without thinking too hard, and thus undoubtedly leaving out something essential: ASCENT/Shepitko; JEANNE DIELMAN/Akerman; VAGABOND/Varda; AN ANGEL AT MY TABLE/Campion; 35 SHOTS OF RUM/Denis; ZAMA/Martel; L'AVENIR/Hansen-Love; THE RIDER/Zhao; FIRST COW/Reichardt; VALLEY GIRL/Coolidge.

John Hall
Europa, Europa Agnieszka Holland
Zero Dark Thirty Kathryn Bigelow (The Hurt Locker is equally good)
The Piano Jane Campion
Whale Rider Niki Caro
The Nightingale Jennifer Kent
Toni Erdmann Maren Ade
Boys Don’t Cry Kimberly Peirce
Vagabond Agnes Varda
The Hitchhiker Ida Lupino
Salaam Bombay! Mira Nair
Additional favorites:
Raw Julia Ducournau
Walking and Talking Nicole Holofcener
Leave No Trace Deborah Granik
Mudbound Dee Rees
But the best film of all is Barbara Kopple’s shattering doc Harlan County U.S.A., which you won't allow. 🙁

Amy Monaghan
From my feverish covid isolation, 10 faves:
-Daisies (Vera Chytilova)
-Freak Orlando (Ulrike Ottinger)
-Goodbye, First Love (Mia Hansen-Løve)
-High Art (Lisa Cholodenko)
-The Loneliest Planet (Julia Loktev)
-Morvern Callar (Lynne Ramsey)
-Simone Barbés or Virtue (Marie-Claude Treilhou)
-The Virgin Suicides (Sofia Coppola)
-Walking and Talking (Nicole Holofcener)
-Winter's Bone (Debra Granik)

Lucia Small
My Ten: Rose Troche's GO FISH; Alison Anders' GAS, FOOD, LODGING, Nicole Holofcener's WALKING AND TALKING; Patricia Rozims' I'VE HEARD THE MERMAID SINGING; Mira Nair's MISSISSIPPI MASALA; Amy Hercherling's FAST TIMES AT RIDGEMONT HIGH; Lisa Chidenko's LAUREL CANYON; The Wachowski Sisters' THE MATRIX; Kathryn Bigelow's THE HURT LOCKER; Emerald Fennell's PROMISING YOUNG WOMAN

Donald Farmer
THE BIGAMIST - Ida Lupino
SWEPT AWAY - Lina Wertmuller
BEYOND GOOD AND EVIL - Liliana Cavani
TRIUMPH OF THE WILL - Leni Riefenstahl
DAISIES - Vera Chytilova
THE HEARTBREAK KID - Elaine May
1001 NIGHTS OF SIMON CINEMA - Agnes Varda
EUROPA, EUROPA - Agnieszka Holland
FAT GIRL - Catherine Breillat
THE VELVET VAMPIRE - Stephanie Rothman
Gerald Peary
Hi, Donald: No documentaries, so you need to substitute a fiction feature for Triumph of the Will. Please do this ASAP. The first vote for The Velvet Vampire.
Donald Farmer
Gerald PearyTHE BLUE LIGHT by Leni Riefenstahl

Karl Kaefer
Dogfight- Nancy Savoca, Seven Beauties- Lina Wertmuller, Daisies, Vera Chytilova, Orlando- Sally Potter, The Night Porter- Liliana Cavani, Roadside Prophets- Abbe Wool, Lost in Translation- Sofia Coppola, Gas Food Lodging- Allison Anders, A Ma Soeur- (Fat Girl)- Catherine Breillat, Trouble Every Day- Claire Denis

Gerald Peary
7. huhtikuuta 2022
90 people have voted so far, the winners announced April 15: your Favorite Ten Feature Films Directed by Women, from anywhere in the world. Please, please vote. Don't be intimidated. You don't need to know all of film history to list your ten favorites. No documentaries, no shorts. One caveat: only one film per woman director. Anyone may vote, starting with me:
Madchen in Uniform (1931)-Leontine Sagan; Dance,Girl, Dance (1940)-Dorothy Arzner; Daisies (1966)-Vera Chytilova; Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)-Chantal Akerman; Mikey and Nicky (1976)-Elaine May; Marianne and Juliane (1981)-Margarethe Von Trotta; Vagabond (1985)-Agnes Varda; Sweetie (1989)-Jane Campion; Beau Travail (1999)-Claire Denis; The Hurt Locker (2008)-Kathryn Bigelow

Mark Rappaport
I don't even know that I can count up to ten here but I would start at number one--Lynne Ramsay's stupendous YOU WERE NEVER REALLY HERE (alternately, but not a as great, WE NEED TO TALK ABOUT KEVIN.) Number 2--Jackie Raynal's extraordinary DEUX FOIS. And maybe, maybe (only time will tell) Jane Campion's POWER OF THE DOG...
Mark Rappaport Wait. Number 4. LES PLAGES D'AGNES.

Will Aitken
this was hard: Craig's Wife, Dorothy Arzner; 2. Marianne and Juliana, Margarethe von Trotta; Le Bonheur, Agnès Varda; Bound, Lana Wachowski, Lilly Wachowski; Golden Eighties, Chantal Akerman; Beau Travail, Claire Denis; 7. Diary for My Children, Marta Meszaros; 8. The Ratcatcher, Lynne Ramsay; Clueless, Amy Heckerling; Power of the Dog, Jane Campion

A list for today. I might change on all of these tomorrow.
Dorothy Arzner - DANCE GIRL DANCE
Jane Campion - THE PIANO
Agnieszka Holland - EUROPA EUROPA
Nicole Holofcener - LOVELY AND AMAZING
Ida Lupino - THE HITCH-HIKER
Elaine May - THE HEARTBREAK KID
Nancy Savoca - DOGFIGHT
Lone Scherfig - AN EDUCATION
Joan Micklin Silver - HESTER STREET
Agnès Varda - LE BONHEUR

Steven Erickson
A top 10: LE BONHEUR, JEANNE DIELMAN, BOAT PEOPLE, ONE WAY OR ANOTHER (Sara Gomez), THE HOLY GIRL, POINT BREAK, FAST TIMES AT RIDGEMONT HIGH, MIKEY AND NICKY, LE CAMION, THE DAY I BECAME A WOMAN

Rodney Welch
Mikey and Nicky (Elaine May)
The Hitch-hiker (Ida Lupino)
Seven Beauties (Lina Wertmuller)
Sisters, or the Balance of Happiness (Margarethe von Trotta)
Vagabond {Agnes Varda)
Daisies (Vera Chytilova)
My 20th Century(Ildiko Enyedi)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman)
Europa, Europa (Agnieszka Holland)
An Angel at my Table (Jane Campion)

Garret Savage
Lost in Translation (S. Coppola)
Je Tu Il Elle (Akerman)
Girlfriends (Weill)
The Rider (Zhao)
Old Joy (Reichardt)
Cleo from 5 to 7 (Varda)
Home (Ursula Meier), I'm not sure yet if it’s one of my favorite of all time, but I saw it a few weeks ago and it has really stuck with me.
And now, after thinking about these films and many more that I haven’t even seen, I’m excited about all the new (to me) movies directed by women to watch or rewatch!
Gerald Peary
Garret Savage Hi, Garret. Three more, please. And, yes, I have at least fifty or sixty recommended films directed by women that I've never seen, that I'm eager to watch.

Beverly Walker
Le Bonheur, Lost Honor of Katherina Blum, Winters Bone, Monsoon Wedding,ToniErdman, Monster, Seven Beauties,Rambling Rose, Crossing Delancy, Somethings Gotta Give

Janet Bergstrom
I had to drop 2, not feature films. Try this...Margarita Barskaya, Broken Shoes (1933)
Kathleen Collins, Losing Ground (1982)
Claire Denis, 35 Shots of Rum (2008)
Ida Lupino, Not Wanted (1949)
Agnès Varda, Vagabond (1985)
Chantal Akerman, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)
Dorothy Arzner, Christopher Strong (1933)
Kelley Reichardt, Certain Women (2016)
Mati Diop, L'Atlantiques (2019)

Eric Masunaga
Winters Bone, Debra Granik; Nomadland, Chloe Zhao; Shirkers (16mm), Sandi Tan; You and Me and Everyone We Know, Miranda July; Waitress, Adrienne Shelley; Little Fires Everywhere, Lynn Shelton; A League of Their Own, Penny Marshall; Mikey and Nicky, Elaine May; Clueless, Ladybird, Greta Gerwig; Turning Red, Domee Shi

Mathew Bainbridge
In no particular Order: The Hitch-Hiker (1953) - Dir. Ida Lupino, Daises (1966) - Dir. Věra Chytilová, Vagabond (1985) - Dir. Agnès Varda, Wanda (1970) - Dir. Barbara Loden, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) - Dir. Chantal Akerman, Slums of Beverly Hills (1998) - Dir. Tamara Jenkins, My Brilliant Career (1979) - Dir. Gillian Armstrong, My 20th Century (1989) - Dir. Ildikó Enyedi, The Piano (1993) - Dir. Jane Campion, Red Road (2006) - Dir. Andrea Arnold

David Heslin
Oops, thanks for letting me know!
1. Je, tu, il, elle (Chantal Akerman, 1974)
2. Daisies (Vera Chytilová, 1966)
3. The Games of Countess Dolingen of Gratz (Catherine Binet, 1981)
4. Documenteur (Agnès Varda, 1981)
5. Portrait of a Lady on Fire (Céline Sciamma, 2019)
6. Ticket of No Return (Ulrike Ottinger, 1979)
7. Simone Barbès, or Virtue (Marie-Claude Treilhou, 1980)
8. Invisible Adversaries (Valie Export, 1977)
9. Class Relations (Straub/Huillet, 1984)
10. The Asthenic Syndrome (Kira Muratova, 1989)

Sandy Flitterman-Lewis
Can I send you my list here? Agnès Varda Cléo de 5 à 7; Mira Nair Mississippi Masala; Chantal Akerman Jeanne Dielman; Julie Dash Daughters of the Dust; Barbara Loden Wanda; Maïmonna Doucourré Cuties; Roselyne Bosch The Roundup; Martine Dugowson Mina Tannenbaum; Sally Potter Orlando; Diane Kurys Entre Nous

Peg Aloi
Peppermint Soda
An Angel at my Table
Relic
Amulet
The Wind
Ratcatcher
Ladybird
Winter's Bone
The Love Witch
Can You Ever Forgive Me?

Ed Symkus
Kathryn Bigelow -- Strange Days
Julia Ducournau – Titane
Mary Harron – American Psycho
Amy Heckerling – Fast Times at Ridgemont High
Agnieszka Holland – Europa Europa
Ida Lupino – The Bigamist
Sally Potter – Orlando
Lynne Ramsay – We Need to Talk About Kevin
Agnès Varda – Vagabond
Doris Wishman – The Hot Month of August

Kay Armatage
Beau Travail, Seven Beauties, Daughter of the Dust, Silences of the Palace, Sweetie, Angel at my Table, Dance Girl Dance, Olympiad, Riddles of the Sphinx.
Gerald Peary
Kay Armatage Thanks. If I replace Olympiad, as documentary, with Dream Life and Reason Over Passion, that makes ten.
Gerald Peary
Kay Armatage Oops! Only one film per director. So kindly replace one of the Jane Campion films for another fiction feature.

Hadley Obodiac
In No Order : (there could have been doubles for some of the directors)
The Hitch-hiker - Ida Lupino
Le Bonheur - Agnes Varda
Daisies - Vera Chitolva
Europa Europa - Agniezska Holland
35 Shots of Rum - Claire Denis
The Rider - Chloe Zhao
I Am Not A Witch - Rungano Nyoni
Desert Hearts - Donna Deitch
Wanda - Barbara Loden
Winter's Bone -Debra Granik

Peter Lynch
Jane Campion Sweetie
Kathryn Bigelow Blue Steel
Mary Harron American Psycho.
Věra Chytilová Wolf’s Hole (Vlčí bouda,
Agnes Varda Cleo from 5 to 7
Claire Denis Beau Travail
Lina Wertmüller Swept Away
Chloé Zhao, “Nomadland”
Elaine May Heartbreak Kid,
Yuliya Solntsevas Enchanted Desna
IN EXTENSO
Peter Lynch
Okay I'm bad I didnt count them heres a list of ones I love.Joanna Hogg the Soveneuer
Andrea Arnold Fish Tank
Jane Campion Sweetie
Julie Taymor Frida,
Kathryn Bigelow Blue Steel
Kelly Reichardt Wendy and Lucy
Ramsay's You Were Never Really Here I
Mary Harron American Psycho.
Lucrecia Martel Zama
Sofia Coppola Lost In Translation
Susan Seidelman Desperately Seeking Susan
Věra Chytilová Wolf’s Hole (Vlčí bouda,
Agnes Varda Cleo from 5 to 7
Mira Nair Monsoon Wedding
Claire Denis Beau Travail
Lina Wertmüller Swept Away
Chloé Zhao, “Nomadland” Chloé Zhao,
Elaine May Heartbreak Kid,
Agnieszka HollandEuropa Europa
Margarethe von Trotta. Die bleierne Zeit
Shirley Clarke The Conection
Chantal Akerman Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles
Yuliya Solntsevas Enchanted Desna

Paul Byrnes
No order but quickly: Beau Travail, Little Women (Greta G), Seven Beauties, Daughter of the Dust, Meek's Cutoff, Olympia, Wadjda, Zero Dark, Silences of the Palace, Sweetie. And another hundred or so...
Gerald Peary
Paul Byrnes Thanks, Paul, and I hope all is well with you. Please replace Olympia with a fiction feature. For me, Sweetie remains the greatest Australian film of all time.
Paul Byrnes
Gerald Peary add Japanese Story, from Sue Brooks. I just realised six ofmine are on Kay Armatage’s list - completely without me knowing what she had chosen. How about that Kay? Great minds….And yes Gerry, all good down here, if a little soft underfoot.

Jayne Loader
Here's my completely arbitrary list, organized into double features for fun viewing: CHRISTOPHER STRONG - Dorothy Arzner &
HARD, FAST AND BEAUTIFUL - Ida Lupino
VALLEY GIRL - Martha Coolidge &
CLUELESS - Amy Heckerling
JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES - Chantal Akerman &
INDIA SONG - Marguerite Duras
THE NIGHT PORTER - Liliana Cavani &
LOVE AND ANARCHY - Lina Wertmüller
FREAK ORLANDO - Ulrike Ottinger &
ORLANDO - Sally Potter

Dennis Fischer
Top 10 Films by Women Directors
Dance, Girl, Dance
Outrage
Seven Beauties
Vagabond
The Matrix
The Square
The Piano
Near Dark
The Babadook

Gene Seymour
OK, fine (all mine, no particular order & as always subject to change in 48 hours): "The Heartbreak Kid" (Elaine May); "Near Dark" (Kathryn Bigelow); "Delivered Vacant" (Nora Jacobson); "Daughters of the Dust" (Julie Dash); "The Hitchhiker" (Ida Lupino); "One Night in Miami..." (Regina King); "Cleo from 5 to 7" (Agnes Varda); "An Angel at My Table" (Jane Campion); "Please Give" (Nicole Holofcener); "Lost in Translation" (Sofia Coppola)
Gerald Peary
Dennis Fischer First vote for Wadjda. Please replace The Square, a documentary, with a fiction feature.
Dennis Fischer
Gerald Peary All right, replace it with A New Leaf.

Anthony Mann
Wanda-Loden
Seven Beauties-Wertmüller
The Heartbreak Kid-May
Vagabond-Varda
L'Intrus-Denis
Anatomy of Hell-Breillat
Zero Dark Thirty-Bigelow
Zodiac Killer-Hui
The Piano-Campion
Bergman Island-Hansen-Løve

Reece Beckett
Beau Travail - Claire Denis
Pariah - Dee Rees
The Matrix - Lana and Lilly Wachowski
Girlhood - Celine Sciamma
Girlfriends - Claudia Weill
Strange Days - Kathryn Bigelow
The Selfish Giant - Clio Barnard
The Headless Woman - Lucrecia Martel
Mikey and Nicky - Elaine May
You Were Never Really Here - Lynne Ramsay

Reece Beckett
Beau Travail - Claire Denis
Pariah - Dee Rees
The Matrix - Lana and Lilly Wachowski
Girlhood - Celine Sciamma
Girlfriends - Claudia Weill
Strange Days - Kathryn Bigelow
The Selfish Giant - Clio Barnard
The Headless Woman - Lucrecia Martel
Mikey and Nicky - Elaine May
You Were Never Really Here - Lynne Ramsay

Louis Black
I’m thinking about
Terminal Island
One Sings the Other Doesn’t
Dogfight
And probably Dogfight again
Dance Girl Dance
Born in Flames
Valley Girl
Dudes
Louis Black
Damn Eve’s Bayou
Near Dark

Jerry Carlson
Vagabond -Varda / Zero Dark Thirty - Bigelow / Household Saints - Savoca / Love & Anarchy - Wertmuller / Daisies - Chytilova / Daughters of the Dust - Dash / Beau Travail - Denis / Zama - Martel / The Hitrch-Hiker - Lupino / Smiling Madame Beudet - Dulac

Terry Curtis Fox
Definitely Daughters of Dust. Varda is getting fractionalized. So One Sings instead of Cleo. Hitch-hiker. Daisies. Wanda. Eve’s Bayou. Heartbreak Kid. Angel at My Table. My Brilliant Career. With Terminal Island that’s ten.

Andrew Luria
Cleo From 5 to 7. Daisies. The Hitchhiker. The Heartbreak Kid. Wanda. Terminal Island. Love And Anarchy. Fast Times At Ridgemont High. Mrs Soffel. Near Dark

Mike Maggiore
AN ANGEL AT MY TABLE (Campion), LE BONHEUR (Varda), LA CIENAGA (Martel), DAUGHTERS OF THE DUST (Dash), FAST TIMES AT RIDGEMONT HIGH (Heckerling), FISH TANK (Arnold), THE HEARTBREAK KID (May), THE HITCH-HIKER (Lupino), PORTRAIT OF A YOUNG GIRL AT THE END OF THE 60s IN BRUSSELS (Akerman), WENDY AND LUCY (Reichardt)

Gregory Julian Klymkiw
In no particular order. They’re the first 10 that popped into my mind (such as it is). Here they are:
The Ascent (Larissa Shepitko)
Outrage (Ida Lupino)
Seven Beauties (Lina Wertmuller)
The Rider (Chloe Zhao)
American Mary (Jen & Sylvia Soska)
Tiefland (Leni Riefenstahl)
Bad Girls Go To Hell (Doris Wishman)
Near Dark (Kathryn Bigelow)
Vagabond (Agnes Varda)
The Night Porter (Liliana Cavani)

Maurie Alioff
Ida Lupino’s The Hitchhiker
Kathryn Bigelow’s Near Dark
Sofia Copola’s The Virgin Suicides
Cynthia Roberts’s Bubbles Galore
Claire Denis’s Beau Travail
Diandrea. Rees’s Mudbound
Anne Emond’s Nelly
Eylem Kaftan’s Keeping the Bees
Patty Jenkins’s Monster
Mary Haron’s American Pysycho

Dennis Delaney
Wanda (Barbara Loden, 1970)
The Heartbreak Kid (Elaine May, 1972)
Seven Beauties (Lina Wertmüller, 1975)
Near Dark (Kathryn Bigelow, 1987)
The Piano (Jane Campion, 1993)
Boys Don’t Cry (Kimberly Peirce, 1999)
American Psycho (Mary Harron, 2000)
Frida (Julie Taymor, 2002)
You Were Never Really Here (Lynne Ramsay, 2017)
Portrait of a Lady on Fire (Céline Sciamma, 2019)

Paul Mollica
Not "favorites" per se (an impossible task) but a list of ten, slightly haphazard, that I would like to program as a series:
BEGINNING (d. Déa Kulumbegashvili, 2020, Georgia-France)
LEAVE NO TRACE (d. Debra Granik, 2018, USA)
THE WONDERS (d. Alice Rohrwacher, 2014, Italy-Switzerland-France)
LA CIÉNAGA (d. Lucrecia Martel, 2001, Argentina)
SONG OF THE EXILE (d. Ann Hui, 1990, Hong Kong)
THE ASTHENIC SYNDROME (d. Kira Muratova, 1989, USSR)
VALLEY GIRL (d. Martha Coolidge, 1983, USA)
LOSING GROUND (d. Kathleen Collins, 1982, USA)
WANDA (d. Barbara Loden, 1970, USA)
CLÉO FROM 5 TO 7 (d. Agnès Varda, 1962, France)

Lyn Vaus
In no particular order:
The Lost Honor of Katharina Blum - Margarethe Von Trotta
Wanda - Barbara Loden
La Cienaga - Lucrecia Martel
Seven Beauties - Lina Wertmuller
The Blue Light - Leni Riefenstahl
The Hitch Hiker - Ida Lupino
Mickey & Nickey - Elaine May
Morvern Callar - Lynne Ramsey
The Ascent - Larissa Shepitko
The Seashell and the Clergyman - Germaine Dulac

Dick Ravin
Lost Honor of Katharina Blum - Margarethe von Trotta
The Matrix - Warchowski Sisters
My Brilliant Career - Gillian Armstrong
Salaam Bombay - Mira Nair
Angel at My Table - Jane Campion
The Savages - Tamara Jenkins
Winter's Bone - Debra Granik
The Kids are Alright - Lisa Chowlodenko
The Secret Garden - Agnieszka Holland
The Whale Rider - Niki Caro

Steven Charles Brown
'Night of Truth" - (Fanta Regina Nacro)-, 'Sweetie' Jane Campion - 'Beau Travail',Claire Denis-'Vagabond' Agnes Varda .'Jeanne Dielmann' Chantal Ackerman. 'The Souvenir" Joanna Hogg. 'Old Joy" Kelly Reichardt, 'The Hitch-Hiker" Ida Lupino 'Hurt Locker' Bigelow "Away From Her" Sarah Polley.

Mike Bowes
Gerald Peary + Morvern Callar & You Were Never Really Here by Lynne Ramsey, Lost in Translation by Sofia Coppola, May's New Leaf, The Ascent by Larisa Shepitko and most importantly cannot believe I left it off my original list is Barbara Loden's Wanda.

Jan Lumholdt
As per current mood:
Death Is a Caress - Edith Carlmar
Krane's Confectionery - Astrid Henning Jensen
The Heartbreak Kid - Elaine May
Swept Away - Lina Wertmüller
India Song - Marguerite Duras
Wilbur Wants to Kill Himself - Lone Scherfig
Shara - Naomi Kawase
Lost in Translation - Sofia Coppola
Things to Come - Mia Hansen Løve
Toni Erdmann - Maren Ade

Dean Michael Kuehn
Feeling somewhat contrarian and outlier here:
Ida Lupino - The Bigamist
Barbara Loden - Wanda
Agnes Varda - Cleo From 5 To 7
Kathryn Bigelow - The Hurt Locker
Chantal Akerman - Jeanne Dielman
Vera Chytilova - Wolf's Hole
Jeanne Moreau - Lumiere
Jane Campion - The Piano
Jennifer Lynch - Boxing Helena
Elaine May - Mikey And Nicky

Denise Widman
A start:
-Promising Young Woman - Fennell
-Clemency - Chuku
-Power of the Dog - Campion
- Hurt Locker - Bigelow
-Swept Away - Wertmuller
-Nomadland - Zhao
- Boys Don’t Cry - Peirce
-Frida - Taymor
- Lost Daughter - Gyllenhaal
- Enough Said Holofcener

Tom Meek
The Hitch-Hiker - Lupino
Hurt Locker - Bigelow
Vagabond - Varda
White Noise - Denis
Meek’s Cutoff - Reichardt
Fast Times at Ridgemont High - Heckerling
Europa, Europa - Holland
The Last Days of Chez Nous - Armstrong
Angel at My Table - Campion
Lost in Translation - Coppola

Matthew Sorrento
Thank you, Gerald:
The Bigamist (Lupino, 1953)
Seven Beauties (Wertmuller, 1975)
Vagabond (Varda, 1985)
Daughters of the Dust (Dash, 1991)
Strange Days (Bigelow, 1995)
Eve’s Bayou (Lemmons, 1997)
Fat Girl (Breillat, 2001)
Please Give (Holofcener, 2010)
Winter’s Bone (Granik, 2010)
Meek’s Cutoff (Reichardt, 2010)

John Paizs
American Psycho (2000) – Mary Harron; The Babadook (2014) – Jennifer Kent;
Clueless (1995) – Amy Heckerling; The Hitch-Hiker (1953) – Ida Lupino; Kissed (1996) – Lynne Stopkewich; Lady Bird (2017) – Greta Gerwig; Lost in Translation (2003) – Sofia Coppola; Mädchen in Uniform (1931) – Leontine Sagan; La Pointe-Courte (1955) – Agnes Varda; Seven Beauties (1975) – Lina Wertmüller

Chris Fujiwara
The Bigamist (Lupino)
News from Home (Akerman)
Daisies (Chytilová)
Asthenic Syndrome (Muratova)
Poem of the Sea (Solntseva)
Losing Ground (Collins)
Wanda (Loden)
The Eternal Breasts (Tanaka)
Merrily We Go to Hell (Arzner)
The Heartbreak Kid (May)

Paul Brenner
Chantal Akerman, Jeanne Dielman
Dorothy Arzner, Merrily We Go To Hell
Ava DuVernay, Selma
Nicole Holocener, Enough Said
Barbara Loden, Wanda
Ida Lupino, The Hitchhiker
Vera Chytilova, Daisies
Lynn Ramsay, You Were Never Really Here
Kelly Reinhardt, First Cow
Lois Weber, The Blot
Gerald Peary
Paul Brenner Thanks, but replace Olympia with a fiction feature.
Paul Brenner
Good! I had forgotten Daisies!
Gerald Peary
Paul Brenner Daisies it is! I just resaw it recently and it's tremendous.

Larry Hardesty
I don't really feel qualified to answer, since I've somehow never seen an Agnes Varda or Chantal Akerman film. But it's a list of favorites, and my favorites can only include the ones I've seen:
Mikey and Nicky
I Shot Andy Warhol
Lovely and Amazing
Lost in Translation
Me and You and Everyone We Know
Away from Her
The Namesake
The Hurt Locker
The Kids are All Right
Little Women (Gerwig)

Oscar Aderholdt
Debra Gromick, Down to the Bone
Julie Dash, Daughters of the Dust
Claudia Weill, Girlfriends
Agnes Varda, Cleo From 5 to 7
Joan Micklen Silver, Between the Lines
Lynne Ramsey, We Need to Talk About Kevin
Diane Kurys, Peppermint Soda
Martha Coolidge, Valley Girl
Margauritte Duras, The Lover
Jennifer Kent, The Babadook

Daniel Kremer
I am confining this to narrative fiction.
In Chronological Order:
1. MERRILY WE GO TO HELL - Dorothy Arzner
2. BLUE SCAR - Jill Craigie
3. MR. LORD SAYS NO (THE HAPPY FAMILY) - Muriel Box
4. WANDA - Barbara Loden
5. THE OTHER SIDE OF THE UNDERNEATH - Jane Arden
6. JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES - Chantal Akerman
7. MIKEY AND NICKY - Elaine May
8. THE FAR SHORE - Joyce Wieland
9. GIRLFRIENDS - Claudia Weill
10. CHILLY SCENES OF WINTER - Joan Micklin Silver
Runners Up:
-KRISTINA TALKING PICTURES - Yvonne Rainer
-SEVEN BEAUTIES - Lina Wertmuller
-THE ASCENT - Larisa Shepitko
-SMITHEREENS - Susan Seidelman
-CRYSTAL GAZING - Laura Mulvey
-HOTEL NEW YORK - Jackie Reynal
-ENTRE NOUS - Diane Kurys
-VARIETY - Bette Gordon
-LOSING GROUND - Kathleen Collins
-VAGABOND - Agnes Varda
-AN ANGEL AT MY TABLE - Jane Campion
-LOST IN TRANSLATION - Sofia Coppola
-WENDY AND LUCY - Kelly Reichardt

David Stewart
The Hurt Locker - Kathryn Bigelow
Fish Tank - Andrea Arnold
Ratcatcher - Lynne Ramsay
Grace of My Heart - Allison Anders
Prevenge - Alice Lowe
The Diary of a Teenage Girl - Marielle Heller
One Night In Miami - Regina King
Variety - Bette Gordon
I Shot Andy Warhol - Mary Harron
Lost in Translation - Sofia Coppola

Rick Kelley
This will change in 5 minutes, so may as well go with it now.
Julie Dash: Daughters of the Dust
Vera Chytilova: Daisies
Larisa Shepitko: The Ascent
Lucretia Martel: The Headless Woman
Kelly Reichardt: Old Joy
Antonia Bird: Ravenous
Gina Prince-Bythewood: Love & Basketball
Sally Potter: Orlando
Lynne Ramsey: We Need To Talk About Kevin
Katheryn Bigelow: Near Dark

Brad Stevens
MIKEY AND NICKY - Elaine May
VERTIGES - Christine Laurent
WATER AND SALT - Teresa Villaverde
THE UNPOLISHED - Pia Marais
DANCE, GIRL, DANCE - Dorothy Arzner
WANDA - Barbara Loden
RATCATCHER - Lynne Ramsay
BOTA - Iris Elezi
JEANNE DIELMAN... - Chantal Akerman
LIONS LOVE - Agnes Varda
Brad Stevens
I think I'll remove RATCATCHER and replace it with Kira Muratova's THE ASTHENIC SYNDROME.

Laurent Vachaud
Cléo de 5 à 7 ( Varda )
The Piano ( Campion )
The Hurt Locker ( Bigelow )
The Babadook ( Kent )
Lost in Translation ( Coppola )
Fast times at Ridgemont High ( Heckerling )
The Happening ( Diwan )
Wanda ( Barbara Loden )
Girlfriends ( Weill )
Beau travail ( Denis )

Gregory Runfeldt
1. Seven Beauties
2. Wanda
3. La Nuit de La Verite
4. Vagabond
5. An Angel at My Table
6. Anatomy of Hell
7. American Psycho
8. The Ascent
9. Fast Times at Ridgemont High
10. Ratcatcher

Dmitry Martov
Tough choices, many painful omissions but here is my chronological list:
SEDMIKRASKY [Daisies] (Věra Chytilová, 1966)
JEANNE DIELMAN ... (Chantal Akerman, 1975)
INDIA SONG (Marguerite Duras, 1975)
THE ASTHENIC SYNDROME (Kira Muratova, 1989)
THE STICKY FINGERS OF TIME (Hilary Brougher, 1997)
BEAU TRAVAIL (Claire Denis, 1999)
INNOCENCE (Lucille Hadžihalilović, 2004)
DAY NIGHT DAY NIGHT (Julia Loktev, 2006)
A VINGANÇA DE UMA MULHER [A Woman's Revenge] (Rita Azevedo Gomes, 2012)
ZAMA (Lucrecia Martel, 2017)

Dennis Doros
In protest because short films and docs SHOULD be included. Shoes by Lois Weber, Sweetie by Jane Campion, I Shot Andy Warhol by Mary Harron, Household Saints (or True Love) by Nancy Savoca, Araya by Margot Benacerraf (a tone poem, not a documentary), Losing Ground by Kathleen Collins, Border Radio by Allison Anders, The Adventures of Prince Achmed by Lotte Reiniger, Sisters by Margarethe von Trotta, and anything by Agnes Varda.
Gerald Peary
Dennis Doros I love short films and documentaries but the category here is fiction features by women. Which "Sisters," as there are two Trotta films which titles are uncomfortably similar? And please name one Varda films.
Gerald Peary
Dennis Doros And please pick one of the Nancy Savoca films.
Dennis Doros
Wow, hardcore here. You're stricter than my volleyball coach in college. Sisters, or the Balance of Happiness. Household Saints. Cleo from 5 to 7. And Harlan County, USA just because you made me. Rebellion!

Tim Miller
Gerald Peary Oops. Sorry. Here's the revised list:
1. The Taste of Others, Agnes Jaoui
2. Promising Young Woman, Emerald Fennell
3. Dogfight, Nancy Savoca
4. The Souvenir, Joanna Hogg
5. Lady Bird, Greta Gerwig
6. Little Women, Gillian Armstrong
7. Cleo From 5 to 7, Agnes Varda
8. The Ascent, Larisa Shepiko
9. Lost in Translation, Sofia Coppola
10. Detroit, Kathryn Bigelow

Tim Jackson
1. Variety Bette Gordon
2. In a Better World Suzanne Bier
3. Bluebeard Catherine Breillat
4. Enough Said Nicole Holofcener
5. Somewhere Sophia Coppola
6. Toni Erdmann Maren Ade
7. Songs My Brother Taught Me Cloé Zhao
8. Wendy and Lucy Kelly Reichardt
9. Humpday Lynn Shelton
10. It Felt Like Love Eliza Hittman
I just really enjoyed these. Missing too many. Trying not to repeat Wertmüller, Bigalow, May, Varda, Lupinio, Campion and Lady Bird (sorry - I loved it)

Adrian Danks
1. Sans toit ni loi/Vagabond (Agnès Varda, 1985)
2. Beau travail (Claire Denis, 1999)
3. Teströl és lélekröl (On Body and Soul, Ildikó Enyedi, 2017)
4. An Angel at My Table (Jane Campion, 1990)
5. Évolution (Lucille Hadzihalilovic, 2015)
6. Korotkie vstrechi (Brief Enounters, Kira Muratova, 1967)
7. Entre nous (Diane Kurys, 1983)
8. La niña santa/The Holy Girl (Lucrecia Martel, 2004)
9. Faithless (Liv Ullmann, 2000)
10. Roozi ke zan shodam/The Day I Became a Woman (Marzieh Meshkini, 2000)

Kevin Stoehr
Campion: Power of the Dog
Riefenstahl: The Blue Light
May: Mikey and Nicky
Denis: Beau Travail
Wertmüller: Swept Away …
Bigelow: The Hurt Locker
Lupino: The Trouble with Angels
Gerwig: Ladybird
Marshall: Awakenings
Meyers: Something’s Gotta Give

Rob Ribera
Beau Travail - Denis
Leave No Trace - Granik
Angel at My Table - Campion
My Brilliant Career - Armstrong
Wendy and Lucy - Reichardt
Ratcatcher - Ramsay
Portrait of a Lady on Fire - Sciamma
The Headless Woman - Martel
The Rider - Zhao
Middle of Nowhere - DuVernay

Christian Monggaard
Tough one.
- An Education, Lone Scherfig
- Jeanne Dielman, Chantal Akerman
- Bergman Island, Mia Hansen-Løve
- Poor Cow, Kelly Reichardt
- The Piano, Jane Campion
- Portrait of a Lady on Fire, Céline Sciamma
- Grace of My Heart, Allison Anders
- Lost in Translation, Sofia Coppola
- Persepolis, Marjane Satrapi
- Winter’s Bone, Debra Granik

Dante del Corso
1. “Europa Europa” by Agnieszka Holland
2. “Monster” by Patty Jenkins
3. “In the Land of Blood and Honey” by Angelina Jolie
4. “Somewhere” by Sofia Coppola
5. "Promising Young Woman" by Emerald Fennell
6. “The Piano” by Jane Campion
7. "The Hurt Locker" by Kathryn Bigelow
8. “Fast Times at Ridgemont High” by Amy Heckerling
9. “Valley Girl” by Martha Coolidge
10. “The Boys Next Door” by Penelope Spheeris

Tim Moore
LE BONHEUR Varda
MESHES ... Deren
DAISIES Chytilova
ADVENTURES OF PRINCE ACHMED Reiniger
OUTRAGE Lupino
DANCE, GIRL, DANCE Arzner
MY BRILLIANT CAREER Armstrong
CAN YOU EVER FORGIVE ME Heller
THE HOUSE IS BLACK Farrokhzad
A NEW LEAF May
Gerald Peary
Tim Moore Thanks, Tim, but check the rules. No docs, no shorts. Please give two more fictional features in places of Meshes and The House is Black.
Tim Moore
Gerald Peary Argh.
GIRLFRIENDS Weill
DESPERATELY ... Seidelman

Kevin Doherty
here are 10 that pen& i loved; no particular order, : 1. shalom bombay(mira nair) 2. the piano(jane campion) 3. certain women( kelly reichardt) 4. the virgin suicides(sophia coppola) 5. water(deepa mehta)6. the rider(chloe zhao)7. capernaum(nadine labaki)8. portrait of a lady on fire(celine scianna) 9. leave no trace( debra granik)10. mustang (deniz erguren)...please excuse the typos/finger problems...
Gerald Peary
Kevin Doherty Thanks, Kevin. Firsts for Water and Capernaum. Faces Places is a documentary, so please replace it with a fiction feature.
Kevin Doherty
Gerald Peary ok, will do
Kevin Doherty
Gerald Peary i did it...#10 ,the documentary is replaced ...it was hard to choose...once i find a film by a director , i view them all and usually love them.

Danny Peary
Too many films I haven’t seen in many years. Random: Maedchen in Uniform; Away from Her; Boys Don’t Cry; Angel at My Table; Mustang; Between the Lines; True Love; The Hurt Locker; The Invitation; Walking and Talking

Peter Kemp
1. HIGH TIDE - Gillian Armstrong; 2. OHM, SHANTI, OHM - Farah Khan; 3. WUTHERING HEIGHTS - Andrea Arnold; 4. ZERO DARK THIRTY - Kathryn Bigelow; 5. BRIGHT STAR - Jane Campion; 6. ORLANDO - Sally Potter; 7. BEAU TRAVAIL - Claire Denis; 8. LES RENDEZ-VOUS D’ANNA - Chantal Akerman; 9. AWAY FROM HER - Sarah Polley; 10. VALLEY GIRL - Martha Coolidge.

Richard Brody
With my own added rule for myself, nothing from this century; in no particular order: Jeanne Dielman (Chantal Akerman); Outrage (Ida Lupino); Hypocrites (Lois Weber); A New Leaf (Elaine May); Daughters of the Dust (Julie Dash); Losing Ground (Kathleen Collins); Forever a Woman (Kinuyo Tanaka); Stranded (Juleen Compton); Wanda (Barbara Loden); Le Camion (Marguerite Duras)

Geoff Andrew
Shoes - Lois Weber/ The Hitchhiker - Ida Lupino/ Le Bonheur - Agnès Varda/ Wanda - Barbara Loden/ A New Leaf - Elaine May/ Hour of the Star - Susana Amaral/ Sweetie - Jane Campion/ The Silences of the Palace - Moufida Tlatli/ Beau Travail - Claire Denis/ Faithless - Liv Ullmann
I have left out films made since 2000 (when it has become just a little easier for women to direct). Besides some very talented British filmmakers whose work I could have included (notably Joanna Hogg, Lynne Ramsay and Andrea Arnold), I should also mention such fine artists working today as Malgorzata Szumowska, Valeska Grisebach, Jessica Hausner, Ruth Mader, Maren Ade, Isabelle Stever, Asli Özge, Catherine Breillat, Mia Hansen-Løve, Lucretia Martel, Karen Moncrieff, Kelly Reichardt and quite a few others,

Patricia Gruben
1. Wendy and Lucy - Kelly Reichardt
2. Monsoon Wedding - Mira Nair
3. Jeanne Dielmann - Chantal Akerman
4. Orlando - Sally Potter
5. Nomadland - Chloe Zhao
6. Vagabond- Agnes Varda
7. The Piano - Jane Campion
8. American Honey - Andrea Arnold
9. Journeys from Berlin/1971 - Yvonne Rainer
10. The Babadook - Jennifer Kent

Mary Fessenden
Agnieszka Holland – Europa, Europa (1990)
Chantal Akerman - Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)
Claire Denis – Beau Travail (1999)
Gillian Armstrong – High Tide (1987)
Jane Campion - The Piano (1993)
Kelly Reichardt – Wendy and Lucy (2008)
Lynne Ramsay – Ratcatcher (1999)
Maren Ade – Everyone Else (2009)
Sofia Coppola – Marie Antoinette (2006)
Vera Chytilova - Daisies (1966)
...........
If the list could have included another 15 (as it pains me not to include more!), here they are: Agnes Varda – La Bonheur (1965)
Andrea Arnold – American Honey (2016)
Chole Zhao - The Rider (2017)
Darnell Martin – I Like It Like That (1994)
Deniz Gamze Erguven – Mustang (2015)
Kathleen Collins - Losing Ground (1982)
Lucrecia Martel – La Ciénaga (2001)
Marjane Satrapi – Persepolis (2007)
Martha Coolidge – Rambling Rose (1991)
Miranda July – Me and You and Everyone We Know (2005)
Nadine Labaki - Capernaum (2018)
Rungano Nyoni – I am Not a Witch (2017)
Sally Potter – Orlando (1992)
Tamara Jenkins – Private Life (2018)

Jonathan Marlow
Admittedly, an overlapping trio with a half-dozen-plus-one of others (in chronological order).
• CLÉO FROM 5 TO 7 (1962) | Agnes Varda
• DAISIES (1966) | Vêra Chytilová
• JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (1975) | Chantal Akerman
• THE ASCENT (1977) | Larisa Shepitko
• LOSING GROUND (1982) | Kathleen Collins
• THE ASTHENIC SYNDROME (1989) | Kira Muratova
• BEAU TRAVAIL (1999) | Claire Denis
• MUNDANE HISTORY (2009) | Anocha Suwichakornpong
• THE OBSERVERS (2011) | Jacqueline Goss
• TOO LATE TO DIE YOUNG (2018) | Dominga Sotomayor
[bonus duo]
• MERRILY WE GO TO HELL (1932) | Dorothy Arzner
• THE LITTLE FUGITIVE (1953) | Ruth Orkin + Morris Engel

Stephanie Piro
Ok, great challenge. I didn't put these in order but these are some of my very favorites:
Lina Wertmuller: Swept Away
Ida Lupino: Hitchhiker
Kathryn Bigelow: the Loveless
Jane Campion: Angel at my Table
Katherine Dieckmann: A Good Baby
Amy Heckerling: Fast Times at Ridgemont High
Suzy Yoonessi: Dear Lemon Lima
Debra Granik: Winter's Bone
Ruth Orkin: the Little Fugitive
Donna Deitch: Desert Hearts

Rick Winston
A second for HESTER ST. Also Mira Nair's SALAAM BOMBAY, Susanna Bier's AFTER THE WEDDING, Lone Scherfig's ITALIAN FOR BEGINNERS, Dee Rees' MUDBOUND, Moufda Tlatli's SILENCES OF THE PALACE, Chloe Zhao's THE RIDER, Debra Granik's WINTER'S BONE, Euzhan Palcy's SUGAR CANE ALLEY, and Ava Duvernay's MIDDLE OF NOWHERE.

Russel Harvey
I am not much for participation in list making, but I think if it's relevant or meaningful to discuss women film directors, no list should leave out (and I'm just naming one of their memorable films off the top of my head) Susan Seidelman (Desperately Seeking Susan), Mai Zetterling (Scrubbers), Penny Marshall (Big). Allison Anders (Gas Food Lodging), Agnieszka Holland (Europa Europa), Sarah Polley (Stories We Tell), Sofia Coppola (Lost in Translation), Elaine May (A New Leaf), Marjane Satrapi, (Persepolis), and Catherine Breillat (36 Fillette).
Russel Harvey
Since Documentary Filmmaker Gerald Peary has a thing against Documentary Films, and has asked me to replace Sarah Polley's funny and nailbiting mystery (Stories We Tell) with a narrative feature, I do so wirh Barbra Streisand's Yent. Why Yentl, which some consider overly sentimental? Because it was a very well made big film that could not have been made on such a scale without Ms. Streisand putting her name and reputation on the line. As Orson Welles said: "A filmmaker needs an army." With Yentl: No Streisand, no Army, no opportunities for the next generation of women filmmakers to enlist an Army. So: Susan Seidelman (Desperately Seeking Susan), Mai Zetterling (Scrubbers), Penny Marshall (Big). Allison Anders (Gas Food Lodging), Agnieszka Holland (Europa Europa), Barbra Streisand (Yentl), Sofia Coppola (Lost in Translation), Elaine May (A New Leaf), Marjane Satrapi, (Persepolis), and Catherine Breillat (36 Fillette).

Ron Kopp
• Toute Une Nuit (Chantal Akerman)
• Cameraperson (Kirsten Johnson)
• Stories We Tell (Sarah Polley)
• Wendy and Lucy (Kelly Reichardt)
• Vagabond (Agnes Varda)
• The Arbor (Clio Barnard)
• White Material (Claire Denis)
• Daughters of the Dust (Julie Dash)
• Europa, Europa (Agnieszka Holland)
• Citizen Four (Laura Poitras)
Sorry, not sorry for including so many docs. I could easily have chosen more. (These are all features, at any rate.)
Gerald Peary
Ron Kopp I mean fiction features. Please replace the docs and resubmit. Thanks!

Dennis Delrogh
Street Corner, Muriel Box; Rambling Rose, Martha Coolidge; A Simple Life, Ann Hui; The Chronicle of Anna Magdalena Bach, Daniele Huillet & friend; Eve's Bayou, Kosi Lemmons; What Women Want, Nancy Meyers; Mabel's Strange Predicament, Mabel Normand (oops, not a feature); Rough Magic, Clare Peploe; Suburbia, Penelope Spheeris; Frida, Julie Taymor.
Gerald Peary
Dennis Delrogh Please send in a feature substitute for the Mabel Normand.
Dennis Delrogh
Gerald Peary I'm not familiar with any other features directed by women. Not even that fond of the ones I mentioned (except Anna Magdalena Bach). Sontag's Duet For Cannibals wasn't as awful as Brother Carl. And the Gillian Armstrong Little Women at least isn't passive aggressive and clueless like the Greta Gerwig one. Is Crocodile Dundee directed by a woman? How about Point Break?--I've heard of it, and it sounds Riefenstahlian, so let's go with that.
Gerald Peary
Dennis Delrogh Since you mostly watch old Hollywood "B" films, you are not going to see anything from women except Dorothy Arzner. You should check out her movies, good stuff!
Dennis Delrogh
Gerald Peary Been there, done that. Am not a fan--but she's less bad for me than her reputation among my film buddies in the 80's (one friend at the time had a theory that the talent of a woman director was in direct relation to her looks, which has since been disproven). I remember Dance Girl Dance as being okay, and Merrily We Go to Hell had perhaps something or other here and there. I like The Last of Mrs. Cheney, but she didn't direct that. Haven't revisited her in years and years and years.

Evelyn Rosenthal
Joan Micklin Silver, "Hester Street" and “Crossing Delancey”; Susan Seidelman, "Desperately Seeking Susan"; Adrienne Shelly, "Waitress"; Jane Campion, "Angel at My Table"; Gillian Armstrong, "My Brilliant Career"; Amy Heckerling, "Clueless"; Lina Wertmuller, "Love and Anarchy"; Penny Marshall, "A League of Their Own"; Agnieszka Holland, "Europa, Europa"; Chloé Zhao, "The Rider."
Evelyn Rosenthal
And I totally forgot about “My Brilliant Career” by Gillian Armstrong, with the great Judy Davis!
Holly Beth Garver
Evelyn Rosenthal, Crossing Delancy! I could watch that film a million times and I always love it like it's brand new to me.
Gerald Peary
Evelyn Rosenthal Please replace one of your two Jane Campion films with another film, perhaps My Brilliant Career.
Evelyn Rosenthal
Gerald Peary Done!
Gerald Peary
Evelyn Rosenthal You missed the rule. ONE film per director, so two Joan Micklin Silver won't do. Try again! You can just give me the film here and I will change it on your ballot.
Evelyn Rosenthal
Gerald Peary I'll go with Crossing Delancey

Holly Beth Garver
1. One Sings, the Other Doesn't/1977/Agnes Varda
2. Girlfriends/1978/ Claudia Weill
3. Fat Girl/2001/ Catherine Breillat
4. Between The Lines/1977/Joan Micklin Silver
5. Friday Night/2002/ Claire Denis
6. The Diary of a Teenage Girl/2015/ Marielle Heller
7. My Brilliant Career/1979/GillianArmstrong
8. Tiny Furniture/2010/Lena Dunham
9. Smooth Talk/1985/ Joyce Chopra
10. Heartbreak Kid/ 1972/Elaine May
Thanks for letting me play!

Holly Beth Garver
Gerald Peary I edited it, but will repost it below.
1. One Sings, the Other Doesn't/1977/Agnes Varda
2. Girlfriends/1978/ Claudia Weill
3. Fat Girl/2001/ Catherine Breillat
4. Between The Lines/1977/Joan Micklin Silver
5. Friday Night/2002/ Claire Denis
6. The Diary of a Teenage Girl/2015/ Marielle Heller
7. My Brilliant Career/1979/GillianArmstrong
8. Tiny Furniture/2010/Lena Dunham
9. Smooth Talk/1985/ Joyce Chopra
10. Heartbreak Kid/ 1972/Elaine May

Drew Todd
In no particular order:
FAST TIMES... (Heckerling, 1982)
RED ROAD (Arnold, 2006)
VAGABOND (Varda, 1985)
SHOES (Weber, 1916)
BRIEF CROSSING (Breillat, 2001)
WANDA (Loden, 1970)
A NEW LEAF (May, 1971)
OLD JOY (Reichardt, 2006)
LA CIENEGA (Martel, 2001)
WE NEED TO TALK ABOUT KEVIN (Ramsay, 2011)

Brecht Andersch
Jeanne Dielman
The Ascent
The Hurt Locker
India Song
Swept Away
Cleo de 5 a 7
A New Leaf
Wanda
Demon Lover Diary
Portrait of Jason
It’s interesting to frame this as lists of favorites as opposed to “greatest,” as sentiment is favored over aesthetic accomplishment. If I was thinking more about the latter, I might be inclined to add Olympia. If the former, Fast Times at Ridgemont High. But, alas, we haven’t been given room for more than 10.
Gerald Peary
Brecht Andersch
Gina Marchetti
Brecht Andersch In the musical grouping, I always enjoyed Penelope Spheeris’ WAYNE’S WORLD 1992.
Brecht Andersch
Gerald Peary Feature docs aren't allowed? Did you specify that? Anyway, I should expect tough rules from a taskmaster like Mr. Peary. OK, you win: Fast Times at Ridgemont High and Terminal Island.
Brecht Andersch
Gina Marchetti I like that, but prefer Suburbia and The Boys Next Door.

Dror Izhar
One sings the other dosen't Varda, New Leaf May, The Piano Campion, Hurt Locker Bigelow, Laavor et Hakir Burstein, Lo Roim alaich Mikal Aviad, Shalosh Ahayot Riklis, Aya, Autobiografia Dimionit,Mikal Bat Adam, The second awakening if Christa Von Clagless, Von Trotte, and a documentary made by a woman, Phoenix Arise, Amy Berg.
Gerald Peary
Dror Izhar No docs, so substitute one more feature film.
Dror Izhar
Gerald Peary Seven Beautirs Wertmuller
Gerald Peary
Dror Izhar You also need to translate into English Shalosh Ahayot Riklis. I have no idea what that means, and what is the name of the director.
Dror Izhar
Gerald Peary three sisters directed by Dina Zvi Riklis.
Dror Izhar
Let's not forget, Israel has more lady directresses than your country. A fact.

Kiki Fung
Gerald Peary OK, if you are still accepting votes:
1. The Bigamist, Ida Lupino
2. News From Home, Chantal Akerman
3. India Song, Marguerite Duras
4. Vagabond, Agnes Varda
5. Tales, Rakhshan Banietemad
6. Summer Snow, Ann Hui
7. The Wonders, Alice Rohrwacher
8. China Behind, Tong Shu Shuen
9. Bright Sunshine In, Claire Denis
10. I’m No Angel, Mae West (does this count? I reckon she directed it…) / if not, then The Piano by Jane Campion
Gerald Peary
Kiki Fung I'm only doing credited directors, so sorry, Mae West. First votes for your number 5-9. Thanks, Kiki!

Diane Carson
In chronological order, for various historical and thematic cinematic contributions: Alice Guy-Blaché, “La Fée aux choux” (“The Cabbage Fairy”) (1896)
Mabel Normand, “Tillie’s Punctured Romance” (1914)
Lois Weber, “Where Are My Children?” (1916)
Dorothy Arzner, “Dance, Girl, Dance” (1940)
Ida Lupino, “The Bigamist” (1953)
Shirley Clarke, “Portrait of Jason” (1967)
Marleen Gorris, “De stilte rong Christine M.” (“A Question of Silence”) (1982)
Agnes Varda, “Visages Villages” (“Faces Places”) (2017)
Jane Campion, “The Piano” (1993)
Claire Denis, “Beau travail” (“Good Work”) (1999)
Gerald Peary
Diane Carson Thanks, Diane, but for this list only fiction features. Please replace the Alice Guy short and the Varda documentary.
Diane Carson
Gerald Peary Oh, apologies. Rushing too much here. So:
Diane Carson
oops, hit return. Please substitute: Celine Sciamma, "Portrait of a Lady on Fire" and Kelly Reichardt, "Meek's Cutoff." Interesting lists, thanks.

Gina Marchetti
I think there will lots of overlap with all the ten best lists, so let me change things up. Here’s my list of ten films of interest by women directors from the PRC, HKSAR, Taiwan, Singapore, and other parts of the Chinese diaspora playing on Netflix right now. Maybe you’ll see something to add to your ten best list?
AN AUTUMN’S TALE (Mabel Cheung, 1987)
20 30 40 (Sylvia Chang, 2004)
FINDING MR. RIGHT (Xue Xiaolu, 2013)
THE GOLDEN ERA (Ann Hui, 2014)
US AND THEM (Rene Liu, 2018)
CROSSING (Bai Xue, 2018)
SHIRKERS (Sandi Tan, 2018)
THE HALF OF IT (Alice Wu, 2020)
BIRDS OF PREY (Cathy Yan, 2020)
AN AMERICAN GIRL (Feng-I Fiona Roan, 2021)

Jack Miller
JE, TU, IL, ELLE (Chantal Akerman, 1974)
OUTRAGE (Ida Lupino, 1950)
CHRONICLE OF ANNA MAGDALENA BACH (co-directed by Danièle Huillet, 1968)
LE BONHEUR (Agnes Varda, 1965)
MIKEY AND NICKY (Elaine May, 1976)
THE ENCHANTED DESNA (Yuliya Solntseva, 1964)
DE CIERTA MANERA / ONE WAY OR ANOTHER (Sara Gómez, 1977)
THE ADVENTURES OF PRINCE ACHMED (Lotte Reiniger, 1926)
WENDY AND LUCY (Kelly Reichardt, 2008)
SAMBIZANGA (Sarah Maldoror, 1972)

Antti Alanen
The Women of Ryazan (Olga Preobrazhenskaya)
La Maternelle (Marie Epstein co-d)
The Eternal Breasts (Kinuyo Tanaka)
Sambizanga (Sarah Maldoror)
Brief Encounters (Kira Muratova)
Die bleierne Zeit / Marianne & Juliane / The German Sisters (Margarethe von Trotta)
Wayne's World (Penelope Spheeris)
Clueless (Amy Heckerling)
Love Is a Treasure (Eija-Liisa Ahtila)
Nomadland (Chloé Zhao)
...
Antti Alanen
I don't regret the selection I already contributed, but here is a BUBBLING UNDER:
Francesca Bertini: Assunta Spina
Nell Shipman: Something New
Dinara Asanova: Woodpeckers Don't Get Headaches
Nelly Kaplan: La Fiancée du pirate
Coline Serreau: Three Men and a Cradle
Nadezhda Kosheverova: Cinderella
Vera Stroyeva: Boris Godunov
Marziyeh Meshkini: The Day I Became a Woman
Samira Makhmalbaf: At Five in the Afternoon
Lorene Scafaria: Hustlers
...
Antti Alanen
MORE BUBBLING UNDER:
Wanda Jakubowska: The Last Stage
Marguerite Duras: India Song
Larisa Shepitko: Wings
Chantal Akerman: La Captive
Nora Fingscheidt: The System Crasher
Malgorzata Szumowska: Body
Alice Rohrwacher: Le meraviglie
Rose Glass: Saint Maud
Miia Tervo: Aurora

Liz Burke
VAGABOND (Agnes Varda)
BEDEVIL (Tracey Moffatt)
VACANT POSSESSION (Margot Nash)
MY BRILLIANT CAREER (Gillian Armstrong)
THE PIANO (Jane Campion)
OUTRAGE (Ida Lupino)
DANCE GIRL DANCE (Dorothy Arzner)
INNOCENCE (Lucille Hadzihalilovic)
CLUELESS (Amy Heckerling)
THINGS TO COME (Mia Hansen-Love)

Carrie Rickey
THE BLOT (Lois Weber); DANCE,GIRL,DANCE (Dorothy Arzner); HARD,FAST&BEAUTIFUL (Ida Lupino); CLEO FROM 5to7 (Agnes Varda); A NEW LEAF (Elaine May); MARIANNE and JULIANNE (Margarethe von Trotta) CLUELESS (Amy Heckerling); LOVE & BASKETBALL (Gina Prince-Byttewood); THE NAMESAKE (Mira Nair); MUDBOUND (Dee Rees) SELMA (Ava DuVernay).

Susan Wloszczyna
The Trouble With Angels (Ida Lupino, 1966); Fast Times at Ridgemont High (Amy Heckerling, 1982); Desperately Seeking Susan (Susan Seidelman,1985); The Prince of Tides (Barbra Streisand, 1991); A League of Their Own (Penny Marshall, 1992); Wayne's World( Penelope Spheris,1992); You've Got Mail (Nora Ephron, 1998); Lost in Translation (Sofia Coppola, 2003); Lady Bird (Greta Gerwig, 2017); Winter's Bone (Debra Granik, 2010)

Tanja Bresan
In no particular order…
Andrea Arnold - Fish Tank, 2019
Amy Heckerling - Fast Times At Ridgemont High
Anne Bancroft - Fatso
Donna Deitch - Desert Hearts
Barbra Streisand- The Prince of Tides
Kathryn Bigelow - Near Dark
Agnes Varda - Kung Fu master!
Joan Tewkesbury- Old Boyfriends
Ida Lupino - The Hitch- Hiker
and although uncredited… Gloria Katz - The Messiah of Evil
( if this last one is not according to the rules - Chilly Scenes of Winter by Joan Micklin Silver as substitute)

Erwin Houtenbrink
In many cases it’s not necessarily the best film I’ve seen of this director, but the only film, so here goes, in no particular order:
Al di là del bene e del male – Liliana Cavani
Bright Star – Jane Campion
Lore - Cate Shortland
You Were Never Really Here - Lynne Ramsay
The Asthenic Syndrome - Kira Muratova
Lost in Translation - Sofia Coppola
Jeanne Dielman etc. - Chantal Akerman
Red Road - Andrea Arnold
Trance - Teresa Villaverde
Old Joy - Kelly Reichardt

Jessica Rosner
This is a personal list and does not perhaps reflect "greatest" I am obviously partial to silent films as I did the first set of women directed silent films. One problem is that there are many I can't include as it has been decades since I saw them ( and rarely watch film online or DVD etc) and also I worked directly on the distribution on a couple of these so I am a bit prejudiced WHERE ARE MY CHILDREN ? By Lois Weber
THE OCEAN WAIF by Alice Guy
LINDA by Dorothy Davenport Reid
ENTRE NOUS by Diane Kurys
EUROPA, EUROPA by Holland
The Outrage by Lupino
Song of the Exile Hui
Daughters of the Dust Julie Dash
Crossing Delancey-Silver
Seven Beauties Wertmuller

Steven Pope
Seven Beauties - Lina Wertmüller.
The Lost Honor of Katharina Blum - Margarethe von Trotta
Monster - Patty Jenkins
Outrage - Ida Lupino
Vagabond - Agnes Varda
Clueless - Amy Heckerling
Virgin Suicides - Sofia Coppola
Now and Then - Lesli Linka Glatter
Little Women - Gillian Armstrong
Slums of Beverly Hills - Tamara Jenkins

Joan Hawkins
The “no shorts” unfortunately eliminates Maya Deren’s “Meshes in the Afternoon”—
so
Bette Gordon, Variety
Maedchen in Uniform
Jeanne Dielman
Night Porter
Demon Lover Diary
Raw
Sophie Calle, “No Sex Last Night”
Vagabond
Dance Girl Dance
The Bigamist
Gerald Peary
Joan Hawkins Also, no documentaries, so please substitute two fiction features for Demon Lover Diary and No Sex Tonight.
Joan Hawkins
Gerald PearyHelke Sanders The All Around Reduced Personality, Shirley Clarke, The Connection

Steve Elworth
No order, Suspense, Dance Girl Dance, The bigamist, one way or the other, Mikey and Nicky, Cleo from Five to Seven, Jeanne Dielmann, Beau Travail, Clueless, Wendy and Lucy
Gerald Peary
Steve Elworth Your list is the most so far like mine, but I have no idea what the film "Suspense" is. Please explain.
Steve Elworth
Gerald Peary an amazing Lois Weber film from 1913. But I realize it is a short. I will replace it with her Shoes from 1915.
Gerald Peary
Steve Elworth OK, you are the third "Shoes" vote,and I have never seen it! Maybe this week.
Steve Elworth
Gerald Peary see Suspense anyway.

Mary Desjardins
Jeanne Dielman, Shoes, Dance GIrl Dance, Portrait of a Lady on Fire, Germany Pale Mother, Cleo from 5 to 7, Leave No Trace, My Brilliant Career, An Education, The Rider.

Graham Fuller
Spontaneously and in no order: In the Cut (Campion), Red Road (Arnold), High Tide (Armstrong), Wanda (Loden), The Virgin Suicides (Coppola), Forever a Woman (Tanaka), Vagabond (Varda), Certain Women (Reichardt), Leave No Trace (Granik), Zama (Martel).

Robyn Bahr
Clueless (Amy Heckerling)
Little Women (Gillian Armstrong)
Booksmart (Olivia Wilde)
Hester Street (Joan Micklin Silver)
Can’t Hardly Wait (Deborah Kaplan)
The Brady Bunch Movie (Betty Thomas)
The Little Rascals (Penelope Spheeris)
The Hairy Bird (Sarah Kernochan)
Yentl (Barbra Streisand)
Monsoon Wedding (Mira Nair)

Annette Insdorf
OK, here is my revised list, in alphabetical order (of the director's last name):
Greta Gerwig, LITTLE WOMEN
Marion Hansel, THE BED
Agnieszka Holland, ANGRY HARVEST
Nadine Labaki, WHERE DO WE GO NOW?
Ida Lupino, THE BIGAMIST
Dee Rees, MUDBOUND
Larissa Shepitko, THE ASCENT
Jill Sprecher, 13 CONVERSATIONS ABOUT ONE THING
Margarethe von Trotta, ROSA LUXEMBOURG
Lina Wertmuller, SEVEN BEAUTIES

Diane Waldman
Kind of late to the party but want to make sure A QUESTION OF SILENCE (Marleen Gorris, 1982), DIARY FOR MY LOVED ONES (Marta Mesaros, 1987), and PROMISING YOUNG WOMAN (Emerald Fennell, 2020) are included. Didn't see them mentioned yet but could have missed them. And if I must include 7 others: MADCHEN IN UNIFORM, DAISIES, MARIANNE AND JULIANE, VAGABOND, DAUGHTERS IN THE DUST, EVE'S BAYOU, and THE FAREWELL (already mentioned).

Amy Geller
Gerald Peary -Here is my list, not in any particular order - Lisa Cholodenko - High Art
Julie Dash - Daughters of the Dust
Nicole Holofcener Walking & Talking
Claire Denis - Beau Travail
Andrea Arnold - Red Road
Catherine Breillat - Romance
Joan Micklin Silver - Hester Street
Nora Ephron - When Harry Met Sally
Amy Heckerling - Clueless
Ana Lily Amirpour - A Girl Walks Home Alone at Night
Alex Sichel - All Over Me

Rob Jaret
Monster - Patty Jenkins
The Bad Batch - Ana Lily Amirpour
Strange Days - Kathryn Bigelow
Shiva Baby - Emma Seligman
Lost in Translation - Sofia Coppola
Desperately Seeking Susan - Susan Seidelman
Big - Penny Marshall
Bound - Wachowski Sisters
Fast Times at Ridgemont High - Amy Heckerling
Jennifer's Body - Karyn Kusama

Lisa Jayne Gordon
Here's my list, no particular order: Chilly scenes of winter - Joan Micklin Silver
The Farewell - Lulu Wang
The Hitchhiker - Ida Lupino
Promising Young Woman - Emerald Fennell
Desert Hearts - Donna Deitch
The Piano - Jane Campion
Rambling Rose - Martha Coolidge
Seven Beauties - Lina Wertmuller
Desperately Seeking Susan- Susan Seidelman
We need to talk about Kevin - Lynne Ramsay