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Directed by Women

Explore films by directors who identify as women.

Alex Heeney / October 4, 2021

Last of the Right Whales is a beautiful nature doc

Nadine Pequeneza’s The Last of the Right Whales, which premiered at the Calgary International Film Festival, tracks how humans have caused disasters for right whales and are working to save them. A right whale (NARW #3560 aka Snow Cone) plays with her calf, who tries to lay on top of her. A 60-ton right whale […]

A still from Ali & Ava, in which a couple stands against a stormy sky, smiling together. The text on the image reads, 'TIFF Review'.

Orla Smith / September 17, 2021

Ali & Ava review: Clio Barnard crafts a lovely Bradford-set romance

Clio Barnard’s Ali & Ava stars Adeel Akhtar and Claire Rushbrook as two kindhearted people with complicated pasts falling in love.

Brett Pardy / September 16, 2021

TIFF Review: Alanis Obomsawin’s Honour to Senator Murray Sinclair

Alanis Obomsawin’s new short film, Honour to Senator Murray Sinclair, is a powerful presentation preserved on film.

A still from The Hill Where Lionesses Roar, in which the three girls faces each other and scream into the sky. The text on the images reads, 'TIFF Review'.

Orla Smith / September 14, 2021

The Hill Where Lionesses Roar is a smart, heartfelt debut from Luàna Bajrami

Portrait of a Lady on Fire actress Luàna Bajrami makes a wonderful directorial debut with The Hill Where Lionesses Roar, a coming-of-age tale set in Kosovo.

A still from Good Madam, in which Tsidi, a Black woman in her thirties, holds out a tray of tea. The text on the image reads, 'TIFF Review'.

Orla Smith / September 14, 2021

Good Madam review: A haunted house in post-Apartheid South Africa

In Jenna Cato Bass’s horror film, a Black family’s domestic servitude to a white family is the stuff of nightmares.

A still from Mad Women's Ball, in which two women stare each other down in a dimly lit, dingy hospital room.

Orla Smith / September 12, 2021

TIFF Review: The Mad Women’s Ball is a shallow look at ‘female hysteria’

Mélanie Laurent’s The Mad Women’s Ball suffers in comparison to Alice Winocour’s Augustine (2011), which tackles the same story with more psychological complexity.

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