In Iran a civil war has been going on for several years, coming under the spotlight of the western media after the death of Mahsa Amini. Protests erupted all over the world with the aim of giving a voice, across national borders, to Iranian women and people who risk their lives every day for freedom

In 1971, four women defy ultraconservative norms and join Mexico's first female police force—only to discover that it's a publicity stunt to distract the media from a serial killer. As the body count grows, they make a pact to bring the killer to justice.

After graduating from college, Chen Keyi has always dreamed of making it in the big city. She has already made plans with boyfriend Yang Dahe but family issues cause the two to breakup. Left to fend for herself alone in Beijing, Chen Keyi feels the vulnerability of having no one to depend on. She decides to change her name to Chen Ke in hopes that it'll help her become stronger. One step at a time, Chen Ke evolves and matures through her multiple career changes in her journey through life.

A serpentine day in the life of ten seemingly disparate women: a porn star, a flight attendant, a psychiatrist, a masseuse, a bartender, a pair of call girls, etc. All of them with one crucial thing in common. Trouble.

Powerful adaptation of DH Lawrence's novels The Rainbow and Women in Love, focusing on the lives of two sisters as they struggle with love, passion and commitment in the build-up to WWI.

The story centers on a group of gossipy, high-society women who spend their days at the beauty salon and haunting fashion shows. The sweet, happily-wedded Mary Haines finds her marriage in trouble when shop girl Crystal Allen gets her hooks into Mary's man.

A private detective is hired to catch a serial killer who makes immigrant garment workers his victims.

From the silent era until today, the nightmares that have haunted our screen have been sculpted and embodied by women, but many of those artists have gone unrecognised – a historical oversight this documentary duly takes a chainsaw to. 　　Is horror a man’s world? You might assume so – but you won’t be thinking that way for long once you investigate the vast contribution women have made to horror movies for well over a century. In 2020, award-winning Australian critic Alexandra Heller-Nicholas released the definitive book on the subject: 1000 Women in Horror, 1895–2018, an encyclopaedic work celebrating the many women – filmmakers, actors, producers and technicians – who have shaped the genre since the moment cinema’s light first flickered. 　　In her complementary documentary, US director Donna Davies interviews a stack of powerhouse women in the horror scene, and assembles a bevy of clips from classic and little-known films that women have left their mark on. From filmmaker and programmer Kier-la Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror, MIFF 2021) and veteran performer Lin Shaye (A Nightmare on Elm Street; the Insidious franchise) to legendary Melbourne film scholars Cerise Howard and Heller-Nicholas herself, interviewees share their personal relationship with horror, addressing each theme the documentary explores sequentially: pregnancy, dolls, ageing, final girls and menstruation, to name just a few. Offering insights into the gender politics often explored through the genre, it’s a discussion that will continue even after you leave the cinema – while the smorgasbord of films referenced will have you scrambling for a pen and paper to take notes. 　　”Sit down, little boys; the grown-ups are talking.” – Alexandra Heller-Nicholas

It's 1910 and we're in Banbury church hall at the Banbury Intricate Craft Circle. Margaret has been to London and discovered the Women's Suffrage movement so she decides they need to set up their own movement and The Banbury Intricate Craft Circle becomes the hilariously ineffectual Banbury Intricate Craft Circle politely request women's Suffrage. Gwen is the only member who actually enjoys the craft element of the meetings, while Helen thinks that craft is a little unnecessary, but she's not interested in women's rights: "What on earth do women need a vote for? My husband votes for who I tell him to vote for. What could be a better system than that?"

After getting married, director Emilce Quevedo Díaz decides to turn the camera on three generations of women in her family when they gather to take care of her grandmother Sixta, who lives in a remote village in the Colombian countryside and is facing a terminal illness. Sixta’s strength of character and her life of pain and endurance are evident in her fragile, aged body. She grew up without being shown love, and never learned how to express love to her daughters. Slowly, sisters, mothers and daughters begin to speak for the first time, telling stories they had long kept secret, and together they embark on a painful yet hopeful journey of love, life and death. We, the Women is a reflection on the joys of family and women's bonds, the devastating impact of traditional gender roles, sexism, domestic violence and the suffocating weight of religion. 　　源自：https://hotdocs.ca/whats-on/hot-docs-festival/films/2023/we-the-women