Film Categories: Work about Women

  • Jack

    This is the official music video for the U.S. Girls song ‘Jack’, the first single off of the album Gem (FatCat Records, 2012). In the video, a sequined woman (played by Meghan Remy) sings from the perspective of Jack the Ripper, confounding the relationship between looker and looked at, predator and prey. This glam-inspired video was befittingly shot on a Hitachi FP-22, 3-tube vintage camera by an all-female crew. It plays on classic images of American femininity, and the lyrics of the song contribute a subtext of the misogynistic serial killer’s gaze. With references to Kenneth Anger’s ‘Puce Moment’ and…

  • Endangered

    Barbara Hammer’s face appears through layered printing and physically scratched film. The material of the film itself – inevitably changed by photochemical decay over time – and its images are at risk of loss as surely as the endangered animal species depicted in the film. The romantic concern with nature is elaborated with a technically sophisticated metaphor from industrial processes. With her own image appearing with the animals, perhaps the artist too is at risk of being lost.

  • Trigger Warning:*rape

    Trigger Warning: *rape offers an intimate discussion between two women about their experiences as sexual assault survivors who were raped by female partners.

  • The 6 Lesbians You’ll Date Before You Die

    Lesbian dating in a nutshell.

  • Solstice Moon

    A glamour girl is lost in a play while trying to identify herself sexually in a male dominant world.

  • Goin’ Ape

    A man driven to the edge seeks refuge in a go-go bar while sleaze bags plot against him. He saves a girl he once knew from unspeakable perils.

  • The Foxy Merkins

    Two lesbian hookers wind their way through a world of bargain-hunting housewives and double-dealing conservative women in this subversive buddy comedy. An homage to and riff on iconic male hustler films.

  • Escapades of the One Particular Mr. Noodle

    A comedy of obsession and assimilation that charts the true account of a first generation Chinese-Canadian’s attempt to fit into a white middle-class suburb. After an alienated childhood, she eventually lands a job at an unpopular pasta bar, walking the streets as a 10-foot egg noodle. A transformation occurs when her new persona, Mr. Noodle, supersedes her own identity – only to confront a similar alienation as a noodle human.

  • MY WOUNDED HEAD

    A transwoman puts on makeup. The makeup and her movements are a metaphor for her transformation, as well as the dialectical revealing and concealment of herself from the scrutiny of the outside world. Taking its title from Marc Chan’s composition, MY WOUNDED HEAD is an experimental short film that investigates issues of representation, preconceived notions and reflexivity. Marc’s music, featured in the soundtrack, is itself a reflexive reinterpretation of a set of chorales from Bach’s St. Matthew’s Passion, “O Haupt voll Blut und Wunden” (“O Sacred Head Now Wounded”).

  • DELILAH JUKEBOX

    DELILAH JUKEBOX (aka DJ) toys with the notion of loops, repetition, and dichotomy like the A-B sides of a vinyl record. Delilah is not just a woman, she is the embodiment and projection of fear and fantasy; her name conjures diverse images and prejudices of the lover, the traitor, the fallen woman, the temptress, the patriot, and the vengeful, etc. Through a series of repetitions of Delilah’s aria “Printemps qui commence” (from the opera Samson et Delilah by Camille Saint-Saëns) in a series of domestic spaces, male mezzo Stephen Chen explores the representation of the feminine by deconstructing and re-imagining…