Taking inspiration from the literary criticism question, "Is there a feminine sentence?" films screened in the series—by renowned female filmmakers such as ELAINE MAY, CHANTAL AKERMAN, CAROLEE SCHHNHEEMANN as well as new female directors such as Alina Marazzi, Maximilla Lukacs and Gina Telaroli—will attempt to identify and examine feminine filmmaking styles.

Box office open for advance ticket purchases Mon-Fri 12-6 & from 1 hour before until the end of all events. During these hours, knock on the window if door is locked.

Taking inspiration from the literary criticism question, "Is there a feminine sentence?" films screened in the series—by renowned female filmmakers such as ELAINE MAY, CHANTAL AKERMAN, CAROLEE SCHHNHEEMANN as well as new female directors such as Alina Marazzi, Maximilla Lukacs and Gina Telaroli—will attempt to identify and examine feminine filmmaking styles.

A WOMAN IS A WOMAN: THE FEMALE POV
Subjective Histories
Curated by Miriam Bale

Coffee Colored Children
Dir. Ngozi, Onwurah, 1988, 15 min.

We Want Roses, Too
Alina Marazzi, 2008, 85 min.
A documentary that tells the history of feminism in Italy in the 60's and 70's through diaries, illustrated romance novels, pop songs, home movies and other found footage. The style is the content; the filmmaker's rejection of objectivity and insistence on shaping history through a private and emotional point–of–view was in part what differentiated Italian feminism from the women's movement in Britain and America. For Italian feminists, communication had to take new feminine forms and the personal was highly political.

Opening night reception to follow screening, sponsored by Harlem's own Sugar Hill Ale!

A WOMAN IS A WOMAN: THE FEMALE POV
Softcore and Sexual Subjects (not Objects)
Curated by Miriam Bale

Female Sensibility
Lynda Benglis, 1973, 14 min.

Sandy Toes
Maximilla Lukacs, 2009, 4 min.

Fuses
Carolee Schhneemann, 1967, 22min.

No. 4
Yoko Ono, 1966, 6 min

Lust
Valie Export, 1986, 12 min.

A WOMAN IS A WOMAN: THE FEMALE POV
The Long Take
Curated by Miriam Bale

Recréations
Dir. Claire Simon, 1993, 54 min.
In this should-be cult classic director Claire Simon shoots a group of French school children on a playground from their point of view, Peanuts-style, and keeps the camera on their games almost uncomfortably too long, past cute and to the point of shocking hilarity. Their specific shared fantasy world is revealed to be a dark, complex system of have's and have-not's, mitigated by unreasonable loyalties. And the differences between the girls' games and the boys' are remarkable.

**Special Sneak Preview**
A Little Death
Gina Telaroli, 2009, 79 min.
A debut feature film directed by Telaroli and made by Meerkat Media collective, who make films collaboratively and democratically emphasizing that process and methods are as important as the end result. Cinema aficionado Telaroli made a decision to consciously transpose some of the specific cinematic choices made by 70s art house auteurs such as Chantal Akerman, but highlighting the unique textures and capabilities of using digital instead of film. Comprised of just 28 shots, this stylistically rigorous look at a young woman's ritualistic experience spending a solitary three-months in winter, while caretaking a summerhouse in Nantucket, is a direct confrontation to media stereotypes of sex-confessional based female relationships.

Director Gina Telaroli will be in attendance for a Q&A following screening with critic Andrew Grant.

A WOMAN IS A WOMAN: The Female POV
A Tribute to Chantal Akerman
Curated by Miriam Bale

Les années 80
Dir. Chantal Akerman, 1983, 82 min.
One of Akerman's most remarkable and essential films is not currently available in any subtitled form, so will be screened on VHS. The soft blur of the VHS format works well, though, for this impressionistic study of women's voices and bodies, in Akerman's beautifully edited film about film, consisting of footage of auditions for a musical she was attempting to make. "Considering Akerman's craving to make a commercially successful film, it's ironic that she gave the same French title, Les années 80, to both a feature-length preview of the musical she was trying to raise money for in 1983 (shown here as The Golden Eighties) and the finished musical that she finally made three years later (known in English as Window Shopping) — which certainly didn't help matters much. It's no less ironic that the preview — which consists of an hour of videotaped auditions with actresses, followed by 25 minutes of sample scenes from the movie in 35-millimeter — proves in many ways to be more emotionally affecting than the completed work. –Jonathan Rosenbaum