Image Courtesy of MUBI.
Aftersun (2022)
This effortlessly heartrending cinematic debut from Scottish film director Charlotte Wells is a subtle and intricate exploration of parenthood, childhood memories, loss and love.
Set in a vacation resort, 11-year-old Sophie [Frankie Corio] treasures the rare time together with her loving father Calum [Paul Mescal], who is no longer with her mother. The film is a visualisation of the unspoken details, of childhood memories played again and again in your mind, revealing new details each time. Twenty years later from the vacation, Sophia’s tender recollections of their last adventure together become a powerful portrait of their relationship that will forever remain stuck in time.
There’s a reason why critics have said that you’ll leave this film feeling unchanged. Watch it in cinemas in Germany from today on.
Whatever Happened To My Revolution (2018)
Whatever Happened To My Revolution is another debut, this time from French director Judith Davis – who both directs the film and plays its protagonist, Angéle.
Since the age of 8, Angéle has been fighting for change – even if she loses friends and lovers in the process. An outraged idealist and committed activist, Angéle never stops for revolution. Whatever Happened To My Revolution is a relatable and timely comedy capturing the battle of overcoming political struggle in a world that doesn’t seem to care.
Our Bodies Are Your Battlefields (2021)
Isabella Solas’ Our Bodies Are Your Battlefields is an intimate view into the lives of trans women Claudia and Violeta in a divided Argentina. The documentary beautifully captures their revolutionary fervour in an intersectional battle against patriarchal violence and religious intolerance.
Despite their struggles, Claudia and Violeta fight tirelessly with courage, resilience and joy. The journey of our two protagonists is an inspiring one, and reminder for the times in which we live.
Shiva Baby (2020)
Amusingly transparent, Emma Seligman’s debut is a self aware comedy about a young woman awkwardly bumping into her sugar daddy at a day-long shiva; a Jewish gathering for mourning.
While among relatives, college student Danielle [Rachel Sennott] is faced with a series of encounters that challenge both her patience and ability to remain calm. One, the appearance of an ex-girlfriend who is a close family friend and two, the attendance of her secret sugar daddy who arrives with his wife and baby.
The story develops into an intense yet humorous tale of female identity, sexuality and relationships.
Rafiki (2018)
Directed by Kenyan filmmaker Wanuri Kahiu, Rafiki is a groundbreaking tale of a romance between two teenage women that aims to change the political opinion of the Kenyan nation.
Despite the political rivalry between their families, Kena and Ziki resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be forced to choose between happiness and safety.
Since being the first Kenyan film to be selected for Cannes festival, Rafiki has been banned by the country’s film classification board “due to its homosexual theme and clear intent to promote lesbianism in Kenya contrary to the law and dominant values of the Kenyans”. Despite the risk of making such a film, Kahiu carries it off with confidence and is sure to speak the oppressed Kenyan LGBTQ+ community.
Image Courtesy of MUBI.
The African Desperate (2022)
Visual artist Martine Syms debuts her first cinematic work with The African Desperate.
During her final 24 hours in art school, Palace Bryant [Diamond Stingily] decides she’s not going to the graduation party. In this hallucinatory day-in-the-life of a Black female artist, we see a satire exploration of the art-world within the digital age, through a hazy and hilarious journey from academic critiques to backseat hookups.
For more films by female directors, discover MUBI’s list here.
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