改变历史的男人不胜枚举，但改变历史的女人却屈指可数。历代王朝，风云变幻，有在政坛上纵横捭阖的女王，也有在战场上浴血奋战的女将。她们身处的朝代各不一样，身份和地位也亦不相同，但几乎都凭一己之力，力图扭转乾坤，改变历史的车轮走向，在整个人类的历史上留下了深深的烙印。这些伟大的历史女性有：古埃及的托勒密王朝最后一任女法老--埃及艳后克利奥帕特拉七世；英法百年战争中的法兰西民族英--圣女贞德；驾驭了英国45个动荡春秋的英格兰与爱尔兰的女王--伊丽莎白一世；俄罗斯历史上唯一一位被冠以“大帝”之名……

Jane Fonda narrates the story of the years between the ascent of talkies until late in 1934, when the Hays Office cracked down on what it perceived as immorality in Hollywood movies. The emphasis is on how women were portrayed, and focuses on how they were much more liberated and equal (or superior) to men, until 1935 when they once again took subservient roles to their male co-stars.

纪录片“Miss Representation”纪录了一大批令人钦佩的、有影响力的女性的见解。它强调媒体对女性狭隘的、常带有轻蔑性的表述，不仅使得越来越多的年轻女孩陷入危机，如饮食失调症、自残、忧郁症等，还对另一个问题负有更大责任，即在美国所有有权力和影响力的职位中，女性的代表性极其不足。该电影还特别提到媒体向年轻女孩传达的令人失望的观念：一位女性的价值取决于她的青春、美貌和性感，不取决于她想当领导的意图或她的领导能力。

纪录片“Miss Representation”纪录了一大批令人钦佩的、有影响力的女性的见解。它强调媒体对女性狭隘的、常带有轻蔑性的表述，不仅使得越来越多的年轻女孩陷入危机，如饮食失调症、自残、忧郁症等，还对另一个问题负有更大责任，即在美国所有有权力和影响力的职位中，女性的代表性极其不足。该电影还特别提到媒体向年轻女孩传达的令人失望的观念：一位女性的价值取决于她的青春、美貌和性感，不取决于她想当领导的意图或她的领导能力。

An amazing movie...but hard to see 　　I saw this movie a long time ago when it was billed as "Femmes Fatales". I remember it as one of the most bizarrely amusing films I've ever seen. While perhaps not as sophisticated as Blier's later efforts, as I remember, it had a crude power and was a scathing look at male/female relations: a kind of cinematic exploration of the male id done with great honesty and comic bravura. I wish I could see it again...but I've never seen it offerred anywhere.

香港警察顧玲玲為調查好友楊美華的死因，遠赴日本與作家李三郎會面，詢問美華有無遺留下重要物品，但卻未有所悉。不久，日本外事邢警木下與倆人接洽合作，情求協助調查一起私毒品案件，並從刑警口中得知楊美華妹妹楊美鳳的下落。 　　為此，倆人結伴去楊美華生前工作的夜總會，進行實地查訪，更希望能見到楊美鳳……

香港警察顧玲玲為調查好友楊美華的死因，遠赴日本與作家李三郎會面，詢問美華有無遺留下重要物品，但卻未有所悉。不久，日本外事邢警木下與倆人接洽合作，情求協助調查一起私毒品案件，並從刑警口中得知楊美華妹妹楊美鳳的下落。 　　為此，倆人結伴去楊美華生前工作的夜總會，進行實地查訪，更希望能見到楊美鳳……

Trois-Rivières, 1930s. A woman separated from her husband for eleven years agrees to take him back into her home when her partner dies, but on the condition that she does not resume married life. Her husband brings with him the three little girls from his second marriage. Mrs. Lemay will become attached to the three children, but life together with her husband will be more and more difficult. Mrs. Lemay is still attracted to this seductive but unstable man who will eventually abandon her again, leaving her three daughters.

戒嚴前夕的台灣，曾出現一系列「女性復仇」電影，形塑受害女性角色，再由極殘忍的復仇結局收尾。延續著近年對身體政治課題的關注，蘇匯宇再次以肉身探討權力，以女性電影為想像基礎，重新創造了一個平行宇宙的女性復仇。