Suzanne Lacy - on Silver Action

Lourdes Portillo - A Lecture in California College of the Arts

Lourdes Portillo - interview

The interview on documentary filmmaking with Lourdes Portillo, a director of films "Las Madres: The Mothers of Plaza de Mayo" (1986), "The Devil never sleeps/El Diablo Nunca " (1994).
Lourdes Portillo is a human rights activist. Her films are focused on Latin America and the Latin America experience in the United States.

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.

Liliana Cavani - Galileo (1968)

Joan Rivers - Rabbit Test (1978)

Ida Lupino - The Hitch-Hiker (1953)

Agnès Varda - Les glaneurs (2000)

Shirley Clarke - Skyscraper (1959)

She received an Academy Award nomination for Skyscraper (1960). Mainly shot in 1958, the short film captures the construction of 666 Fifth Avenue which began in 1957. The 20-minute film also includes shots of the Roxy Theatre which was demolished the year Skyscraper was released. In 1959, it won the Golden Gate Award at the San Francisco International Film Festival.

Nelly Kaplan - La Fiancee Du Pirate (1969)

Helke Sander - Aus Berichten der Wach- und Patrouillendienste (1985)

Leni Riefenstahl - The blue light ( Das blaue Licht )

http://en.wikipedia.org/wiki/The_Blue_Light_(1932_film)

Leni Riefenstahl - Victory of Faith (Der Sieg des Glaubens 1933)

Claire Denis - Identity and Environment, Strangers and Nationality

Claire Denis talking about narrative construction, multiple narratives, identity, clichés, 'walls' and borders, nationality, strangers, outsiders, immigration, nomads, wanderers, gender, suicide Rear Window and White Material; lecturing on and revealing the methodology of narration, and cultural anthropology in cinema. Public lecture open for the students and faculty of the European Graduate School EGS Media and Communication Studies department program Saas-Fee Switzerland Europe 2010 Claire Denis.
More on: http://www.egs.edu/ 

Forugh Farrokhzad - The house is black (1962)

The House is black (1962) is a documentary of a leper colony in the north of Iran.

Trinh T. Minh-ha - Interview

Trinh T. Minh-ha, entrevista from AMBULANTE on Vimeo.

Trinh T Minh Ha - Reassemblage 1983

Lynne Ramsay - Kill the Day (1996)

Marina Abramović - AAA AAA (1978)

Joyce Wieland - Sailboat (1967)

Joyce Wieland was an experimental filmmaker and artist whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both. 

Dorothy Arzner - Dance, Girl, Dance (1940)

Dorothy Arzner (January 3, 1897 – October 1, 1979) was an American film director. Her directorial career in feature films spanned from the late 1920s into the early 1940s. Throughout that time she was the only woman working in the field.

Agnès Varda - Black Panters (1968)

Directed by Agnès Varda, Black Panthers is a lyrical portrait of the Panthers in their early years, campaigning for the release of their leader Huey P. Newton. Varda is the key documentary exponent of the French Nouvelle Vague.

Agnès Varda - Les Fiancés Du Pont Macdonald

Agnès Varda (born 30 May 1928) is a French film director and professor at the European Graduate School. Her movies, photographs, and art installations focus on documentary realism, feminist issues, and social commentary — with a distinct experimental style.

Lois Weber - Suspense (1913)

Lois Weber (1879 —1939) was an American silent film actress,screenwriter, producer, and director, who is considered "the most important female director the American film industry has known", and "one of the most important and prolific film directors in the era of silent films"

Maya Deren - The Very Eye Of Night (1958)

Maya Deren - Ritual in Transfigured Time (1946)

Maya Deren - At Land (1944)

At Land  (1944) is a 15-minute silent experimental film written, directed by, and starring Maya Deren. It has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain one's personal identity.

The composer John Cage and the poet and film critic Parker Tyler were involved in making the film, and appear in the film, which was shot at Amagansett, Long Island.

Germaine Dulac - La Coquille et le Clergyman (1926)

Germaine Dulac - La souriante madame Beudet (1923)

Germaine Dulac - L'invitation au voyage (1927)

Germaine Dulac (born Charlotte Elisabeth Germaine Saisset-Schneider) (17 November 1882 – 20 July 1942) was a French filmmaker, film theorist, journalist and critic. She was born in Amiens and moved to Paris in early childhood. A few years after her marriage she embarked on a journalistic career in a feminist magazine, and later became interested in film. With the help of her husband and friend she founded a film company and directed a few commercial works before slowly moving into Impressionist and Surrealist territory. She is best known today for her Impressionist film, La Souriante Madame Beudet ("The Smiling Madam Beaudet", 1922/23), and her Surrealist experiment, La Coquille et le Clergyman ("The Seashell and the Clergyman", 1928). Her career as filmmaker suffered after the introduction of sound film and she spent the last decade of her life working on newsreels for Pathé and Gaumont.

Chantal Akerman - Je, tu, il, elle 1976 (excerpt)

Pimpaka Towira - The Truth Be Told: The Cases Against Supinya Klangnarong

A documentary on Supinya Klangnarong, profiling the Thai media activist and her legal fight against defamation lawsuits brought against her by the Shin Corporation, at the time owned by the family of Prime Minister Thaksin Shinawatra. Filmed over the course of nearly three years, The Truth Be Told: The Cases Against Supinya Klangnarong covers the political scene in Thailand in the last days of the Thaksin administration, the controversial sale of his family's assets to Singapore's Temasek Holding, demonstrations against Thaksin,  the 2006 Thai coup d'état and the post-coup atmosphere.

The film premiered in September 2007 during the Digital Forum in Bangkok.

Alice Guy-Blaché - The Irresistible Piano (1907)

Chantal Akerman - Saute ma ville (1968)

Akerman was born to an observant Jewish family in Brussels, Belgium. Her grandparents and her mother were sent to Auschwitz; only her mother came back. This is a very important factor in her personal experience. Her mother's anxiety is a recurrent theme in her filmography. Akerman claims that, at the age of 15, after viewing Jean-Luc Godard's Pierrot le fou (1965), she decided, that same night, to make movies. At 18, she entered the Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion, a Belgian film school. During her first term, however, Akerman chose to leave and make Saute ma ville, a thirteen-minute black-and-white picture in 35mm. She partially subsidised Saute ma ville from shares she sold on the Antwerp diamond exchange, procuring its remaining budget through her clerical work. In 1971, Saute ma ville premiered at the Oberhausen short-film festival.

Alice Guy-Blaché - Pantomime Lesbienne

Alice Guy-Blaché Avenue de l'Opéra (1900)

Alice Guy-Blaché - Turn of the Century Surgery (1900)

Alice Guy-Blaché

http://www.youtube.com/watch?v=DqlD7RLoNAI

Alice Guy-Blaché - Gypsy Dance

http://www.youtube.com/watch?feature=player_embedded&v=u19uY-iN6L4

Alice Guy-Blaché - the consequences of feminism

Selected filmography
La Fée aux Choux (The Cabbage Fairy) (1896) 
Little Tich and his Big Boots (1900)
Sage-femme de première classe (First Class Midwife) (1902) 
Danses Gitanes (1905)
La Esméralda (1905) (based on the Victor Hugo novel, The Hunchback of Notre Dame)
L’Emeute sur la Barricade (1906)
The Birth, the Life and the Death of Christ (1906)
Madame’s Fancies (1907) 
La Saucisse (1907)
The Glue (1907)
The Irresistible Piano (1907)
A Fool and His Money (1912) 
Algie the Miner (1912) 
Making an American Citizen (1912) 

Alice Guy-Blaché - La Fée aux Choux

La Fée aux Choux (The Cabbage Fairy) is one of the earliest narrative fiction films ever made. It was probably made before the first Méliès fiction film, but after the Lumière brothers' L'Arroseur Arrosé. The confusion stems from the uncertainty in the dating of these three films. Many film historians have accepted that La Fée aux Choux was made in April 1896, just a month or two before Méliès made his first fiction film. L'Arroseur arrosé (generally considered the earliest fiction film) was screened in December 1895.

La Fée aux Choux is sixty seconds long, possibly making it the earliest known film with a running time of at least one minute.

Alice Guy Blanché, the director of La Fée aux Choux, is one of the early cinema's most important figures, and had an extensive career as a director, producer and studio owner, working in both France and the United States. Guy Blaché appears in the film, dressed as a man.