Fråtseri

Eberswalde, dying industrial city of forty thousand souls just 50 miles East Berlin. Johanna lives in that hopeless place. She lives refusing herself the dreams of following in the footsteps of her father, a boxer. Her irascible character makes her lose job after job and training in the gym where women are nothing but a nuisance. She perseveres supported by the love of a wonderful boy and the intelligence of a woman who knows that beautiful women are not necessarily stupid.

Documentary about the musical and social phenomenon of Brazilian funk (or Carioca Funk), a style derived from Miami Bass, based on repetitive bass drum loops and lyrics full of sexual and violent overtones, not directly related to American funk/soul music. This style emerged in the slums and poor neighborhoods of Rio de Janeiro, and is deeply associated with the lower social classes, but is gradually being accepted on higher social circles. The film is specially interested in women's participation, focusing on its major female stars.

When Dawn, an overworked single mother, agrees to take her teenage daughter, Kayla, to a luxurious but isolated spa retreat, the women believe they have escaped to a paradise of spa treatments, yoga, and nature hikes until a series of disturbing incidents has Kayla questioning the perfection around her.

Recently-widowed Leann and her 17-year-old daughter Julina move into an isolated polygamous compound, where the freethinking Julina meets like-minded Ryder, son of the religious compound’s charismatic Prophet, Ervil.

A mystery, a comedy with an undercurrant of terror, about the expose of scandal in big business transactions and how a three year-old boy and his father lost each other.

Recording of the play 1789, a collective creation by Théâtre du Soleil at La Cartoucherie de Vincennes in 1970, edited from several shows.

Art Is Reactionary is the 10-minute video recording of a performance by Carolee Schneemann dating from 1987. Carolee Schneemann shares the stage with her ideal double, an African American. On a stage, the two women start their story using the heralding expression of fairy tales: “Once upon a time...” They speak into the same microphone, their voices combine and each becomes the echo of the other. Three people stand downstage, like a Classical chorus. A woman flanked by two men dialogues with the two performers through their voices, but also by an alternating play of the black and white of their clothes and skin. Slides relating to sexuality, close ups of sexual organs, are projected on stage. Schneemann and her double move within the field of projection of the images while reciting a text dealing with the role of women in society and the question of feminism in artistic practice.

A young man tries to make sense of the world in the summer heat of late nineties Estonia.

With little or no embellishment, filmmaker Marguerite Duras offers a simple, often wordless chronicle of a woman's day. She and her friend are seen doing yard work, talking about their families and receiving the occasional visitor. The brightest spot in the day is when a washing machine salesman comes to call.

After a chance encounter with a wanted man, a woman is harassed by the police and press until she takes violent action.

Charles and Lucie, an old and poor couple, inherits a luxurious house in the South of France.