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.

Pipilotti Rist - Ever is over all 1997

1997, av installation, 2 projections overlapping 
Sound by Anders Guggisberg & P. Rist

I liked this article: http://artintelligence.net/review/?p=443

Pipilotti Rist - Pepperminta

Pipilotti Rist - I´m not the girl who misses much 1986

In I'm Not The Girl Who Misses Much (1986) Rist dances before a camera in a black dress with uncovered breasts. The images are often monochromatic and fuzzy Rist repeatedly sings "I'm not the girl who misses much," a reference to the first line of the song "Happiness is a Warm Gun" by the Beatles. As the video approaches its end, the image becomes increasingly blue and fuzzy and the sound stops.

Hannah Höch - German Dada

Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany

Höch was a pioneer of the art form that became known as photomontage. Many of her pieces sardonically critique the mass culture beauty industry, at the time gaining significant momentum in mass media through the rise of fashion and advertising photography. Her works from 1926 to 1935 often depicted same sex couples, and women were once again a central theme in her work from 1963 to 1973. Höch also made strong statements on racial discrimination. Her most famous piece is Schnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands ("Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany"), a critique of Weimar Germany in 1919. This piece combines images from newspapers of the time re-created to make a new statement about life and art in the Dada movement.

Shirin Neshat - Women without men

WOMEN WITHOUT MEN is Shirin Neshat's independent film adaptation of Shahrnush Parsipur's magic realist novel. The story chronicles the intertwining lives of four Women in Iran during the summer of 1953; a thriller that that addresses themes such as human rights and women, women voting rights, and the womans rights movement, a cataclysmic moment in Iranian history and Muslim women rights when an American led, British backed coup d'état brought down the democratically elected Prime Minister, Mohammad Mossadegh, and reinstalled the Shah to power.

Shirin Neshat - Turbulent 1998

Shirin Neshat - Turbulent 1998

In Turbulent, Neshat's 1998 two-screen video installation, two singers (Shoja Azari playing the role of the male and Iranian Vocalist and composer Sussan Deyhim as the female) create a powerful musical metaphor for the complexity of gender roles and cultural power within the framework of ancient Persian music and poetry.

Maya Deren - The Divine Horsemen: the living gods of Haiti

Maya Deren, Divine Horsemen: The Living Gods of Haiti, Documentext/Mc Pherson & Co.: New York, 1983

Divine Horsemen: The Living Gods of Haiti (1985) is a black-and-white documentary film about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1954.

Maya Deren Meshes of the Afternoon (1943)

Maya Deren Meshes of the Afternoon (1943)

From Senses of Cinema (http://sensesofcinema.com/2002/great-directors/deren-2/)

Thomas Schatz points to Meshes as the best known experimental film of the decade. He categorizes it as the first example of “the poetic psychodrama”, films bearing the impression of art cinema which were seen as “scandalous and radically artistic.”  He writes that the poetic psychodrama “emphasized a dreamlike quality, tackled questions of sexual identity, featured taboo or shocking images, and used editing to liberate spatio-temporal logic from the conventions of Hollywood realism.” 

Rhythm also impacts significantly on spectatorship. The rhythm of the sound, movement and editing conspire to produce the effect of a trance film. Meshes of the Afternoon‘s dream-like mise-en-scène, illogical narrative trajectory, fluid movement and ambient soundtrack invite a type of contemplative, perhaps even transcendental, involvement for the spectator.