La lotta non è finita - collettivo di cinema femminista 1972-1973

Laura Mulvey - Riddles of the Sphinx (1977)

Interview with Simone de Beauvoir on "Why I am a Feminist"

Bratmobile - Ladies, Women & Girls

Bratmobile was an American punk band. Bratmobile was a first-generation "riot grrrl" band, which grew from the Pacific Northwest and Washington, DC underground.

Bikini Kill - Pussy Whipped (1993)

Dangerous Art: From Varvara Stepanova to Pussy Riot. Lecture by Irina Aristarkhova

Irina Aristarkhova, associate professor of art & design, history of art, and women's studies, University of Michigan. Feb 6, 2013.

One billion rising - 14th of February 2014

One billion rising for justice
http://www.onebillionrising.org/

Vogliamo anche le rose (We want roses too) - Alina Marazzi (2007)

Suffragettes - documentray by Michèle Dominici

Lizzie Borden - Born in Flames (1983)

Born in Flames is a 1983 documentary-style feminist science fiction film by Lizzie Borden that explores racism, classism, sexism and heterosexism in an alternative United States socialist democracy.

Polina Kanis - Eggs

Kanis Polina - Eggs from Moscow Rodchenko Artschool on Vimeo.

Polina Kanis - Purification

Kanis Polina - Purification from Moscow Rodchenko Artschool on Vimeo.
In her work “Purification”, Kanis reconstructs a ritual foot-washing common to varied cultures and traditions. She washes the feet of young people dressed in a white uniform, one by one, in so doing trying to reconsider it, and to purify it of its existing meanings and stereotypes. In the end, placed within a contemporary context, the canonical image entire deconstructs itself.

Some American Feminists (1975-1976)

Some American Feminists (1975-1976) - a documentary by Luce Guilbeault, Nicole Brossard, Margaret Wescott

Alice Guy-Blaché - Falling Leaves (1912)

Falling Leaves is a 1912 American film by Alice Guy-Blaché.  It was produced by Solax Studios when it was based in Flushing, New York at the beginning of the 20th century. The 2004 National Film Preservation Foundation restored print runs 12 minutes.

Nadezhda Tolokonnikova - on a hunger strike since 23d of September 2013

Pussy Riot's Nadezhda Tolokonnikova attends court in 2012. Photograph: Aleshkovsky Mitya/ Aleshkovsky Mitya/ITAR-TASS Photo/Corbis

http://www.theguardian.com/music/2013/sep/23/pussy-riot-hunger-strike-nadezhda-tolokonnikova

Femicine: Mania Akbari - In my country men have breasts

Femicine: Mania Akbari - In my country men have breasts: Akbari was diagnosed with breast cancer in 2007 and she lost her breasts due to the cancer. After she directed, wrote and acted 10+4 which s...

Adele Horne - Maintenance

Alice Guy-Blaché - Making an American Citizen (1912)

Agnès Varda - le Bonheur (Happiness 1965)

Susan Sontag - Unguided Tour AKA Letter from Venice (1983)

Suzan Pitt - Asparagus (1979)

Marjane Satrapi - Persépolis (2007)

Rakhshan Bani-E'temad - Nargess (1992)

Mania Akbari - In my country men have breasts

Akbari was diagnosed with breast cancer in 2007 and she lost her breasts due to the cancer. After she directed, wrote and acted 10+4 which showed her struggle with the cancer, the depiction of the artist's body became central in her works. In the same year, Akbari photographed her own naked body for the photo project titled Devastation. Although it was pretty risky, put herself in danger and prohibited to exhibit Devastation in Iran due to the naked images of her own body, Akbari continued to depict her own body as a new medium and new material so that she provided a video secretly as well.
In 2012,after Akbari left Iran due to the barred situation of filmmaking and arresting film makers, she uses the video that shoot secretly from her own body in 2007 and juxtaposed with new images and the song of Ahangaran, who was a singer for the war time between Iran and Iraq. As a result of her action and performance, the video project titled In my country, Men Do Have Breasts happened. For Akbari, the aim of this video project is a protest in relation to the current political situation between Iran, United State, and Israel, the war in Middle East, and also the corrupted atmosphere inside of Iran.
In my country, Men Have Breast evokes the relationship between the devastating memory of war and the memory of the woman who lost part of her body due to ravages of cancer. The video highlights the symbolic connection between war, as a cancer, and the scars it bears on society. The metaphor also extends as a comparison between individual and society; the interaction of collective and personal memory of the war and death. The song over the video is by Ahangran, a singer whose voice has a heavy tone that symbolizes the massacre and death of the soldiers in the war of Iran and Iraq. This song is part of a difficult collective memory of the Iranian people during ten years of war.

Agnès Varda - Cléo de 5 à 7 (1962)

Edith Carlmar - Let Me Borrow Your Wife (1958)

Barbara Hammer - Nitrate Kisses (1992)

Nitrate Kisses is a 1992 experimental documentary film directed by Barbara Hammer. According to Hammer, it is an exploration of the repression and marginalization of LGBT people since the First World War.

Barbara Hammer on Feminist cinema

Agnès Varda - Salut les cubains (1963)

Salut les cubains (1963) Agnes Varda

Alice Guy-Blaché - La Vie du Christ

La Vie du Christ (1906) - a narrative film by Alice Guy-Blaché featuring the life of Christ in 25 scenes. 

Alice Guy - more

Faust and Mephistopheles (1903)

On the Barricade (1907)

Alice Guy - her story

I read this interesting article http://filmint.nu/?p=9219
Here some films there mentioned:

Baignade das un torrent 1897

 Chez le magnetiseur 1987

La bonne absinthe 1989

Leni Riefenstahl - Triumph of the Will (1932)

Triumph of the Will (German: Triumph des Willens) is a 1935 film made by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg. The film contains excerpts from speeches given by various Nazi leaders at the Congress, including portions of speeches by Adolf Hitler, Rudolf Hess, and Julius Streicher interspersed with footage of massed Sturmabteilung and Schutzstaffel troops. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. The overriding theme of the film is the return of Germany as a great power, with Hitler as the leader who will bring glory to the nation. The film was made after the Night of the Long Knives so many prominent SA members are absent, having been murdered in 1934. Triumph of the Will became an example of propaganda in film history. Riefenstahl's techniques, such as moving cameras, the use of long focus lenses to create a distorted perspective, aerial photography, and revolutionary approach to the use of music and cinematography, have earned Triumph of the Will recognition as one of the greatest films in history. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden, and other countries. The film was popular in the Third Reich, and has continued to influence movies, documentaries, and commercials to this day.

Ana Mariscal - El camino (1963)

Lynne Ramsay - Swimmer (2012)

Mania Akbari - 6 video art

Edith Carlmar - Døden Er Et Kjærtegn (Death is a caress 1949)

Pilar Miró - Werther (1986)

Icíar Bollaín - Flores de otro mundo (1999)

Ann Hui - Boat People (1981)

Pascale Ferran - Lady Chatterley (2006)

Liliana Cavani - Milarepa (1973)

Lina Wertmüller - I Basilischi (1963)

I Basilischi (also known as The Basilisks and The Lizards) is a 1963 Italian drama film. It is the directorial debut of Lina Wertmüller.
It was shown as part of a retrospective "Questi fantasmi: Cinema italiano ritrovato" at the 65th Venice International Film Festival.

Margarethe von Trotta - Rosa Luxemburg

Shirley Clarke - The Cool World (1964)

The Cool World (1964) is a feature film about African-American life in the Royal Pythons, a youth gang in Harlem.

This film is an electrifying revelation of the American problem: the desperate meaning of segregation that will not easily be erased even if every civil rights battle is won for the next ten years…

–James Farmer,

THE COOL WORLD… is a hauntingly bitter, savagely realistic yet not unpoetic look at a world you don’t know. You won’t be entertained by the film but you will be rewarded — if you don’t scare easily. Director Shirley Clarke… has, in every sense, authored a work of art… judged as a documentary study of the world’s foremost metropolitan jungle… ‘THECOOL WORLD’ is an unqualified success.

–Mike McGrady, Newsday

THE COOL WORLD is a loud, long and powerful cry of outrage at the world society has created for Harlem youngsters and at the human condition in the slum ghetto…

–Judith Crist, The New York Herald Tribune

Věra Chytilová - Daisies (1966)

Věra Chytilová has embodied a unique cinematographic language and style that does not rely on any literary or verbal conventions, but rather utilizes various forms of visual manipulations to create meaning within her films. Chytilová uses observations of everyday life in accordance with allegories and surreal contexts to create a personalized film style that is greatly influenced by the French New Wave, and Italian Neo-Realism. Chytilová actively uses a filmic style that is similar to cinema verite in order to allow the audience to gain an outside perspective of the film. Her use of cinema verite is best illustrated in her 1966 film Daises in which these techniques create a “philosophical documentary, of diverting the spectator from the involvement, destroying psychology and accentuates the humor”. Through these manipulations Chytilová has created a legacy of creating a disjunctive viewing experience for her audience forcing them to question the meaning of her films.

Věra Chytilová is cited as a militant feminist filmmaker. Josef Skvorecky states that Chytilová “In a true feminist tradition Vera combined intensive intellectual effort with a feminine feeling for beauty and form”. Daises is seen as a feminist film due to its attitude and active critique of male attitudes towards sex However Chytilová does not see herself as a feminist filmmaker, but rather believes in individualism, stating that if a person does not believe in a particular set of conventions or rules then it is up to that individual to break them.

Samira Makhmalbaf - The Apple

I found The Apple just with portuguese subtitles.

Samira Makhmalbaf - At Five in the Afternoon

At Five in the Afternoon is the first feature film to made in a post-Taliban environment. Samira talks about her film to BBC, "I wanted to show reality, not the cliches on television saying that the US went to Afghanistan and rescued the people from the Taliban, that the US did a Rambo," said Makhmalbaf."Though the Taliban have gone, their ideas are anchored in peoples' minds, in their traditions and culture, there is still a big difference between men and women in Afghanistan." 

In an interview with BBC she talks about the difficulties that women directors face in Iran. "Traditionally, it is in the minds of everybody that a woman cannot be a film maker. It is therefore very much harder for a woman. Also, when you live in this kind of situation there is a danger that you can start to develop a similar mind-set and so the thing is to challenge this situation, and then slowly the situation will change also in the minds of others. I very much hope that in the advent of freedom and democracy Iran can produce many more women directors.

Barbara Loden - Wanda (1970)

 For Wanda - a great article about the film on The Senses of Cinema by Bérénice Reynaud: http://sensesofcinema.com/2002/feature-articles/wanda/

Barbara Hammer - Sanctus (1990)

Leni Riefenstahl - Olympia (1936)

Samira Makhmalbaf - How Samira Made The Blackboard

Barbara Kopple - Harlan County USA (1976)

Jane Arden - Vibration (with Jack Bond, 1975)

Shirley Clarke - Bullfight (1955)

Liliana Cavani - La Donna Nella Resistenza (1965)

Liliana Cavani - Francesco d'Assisi (1966)

Shirley Clarke - Bridges-Go-Round (1958)

Clarke's film Bridges Go-Round (1959) is a major example of abstract expressionism in film, with two alternative soundtracks, one with electronic music by Louis and Bebe Barron and the other consisting of jazz created by Teo Macero. She used the camera to create a sense of motion while filming inanimate structures.

Shirley Clarke - Portrait of Jason (1967), excerpt

Shirley Clarke - Portrait of Jason (1967)

Portrait of Jason is a 1967 documentary film directed, produced and edited by Shirley Clarke and starring Jason Holliday (1924-1998). 

A gay, African-American hustler and aspiring cabaret performer, Jason is the sole on-screen presence in the film. He narrates his troubled life story to the camera, behind which Clarke and her partner at the time, actor Carl Lee, provoke and berate Jason with increasing hostility as the film progresses. The film employs avant-garde and cinéma vérité techniques to reach the tragedy underlying Jason's theatrical, exaggerated persona.