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A NEW ROAD MOVIE THROUGH CINEMA CONTACT [email protected] [email protected]

Ground Floor Overseas House 19-23 Ironmonger Row London EC1V 3QN + 44 (0)20 7253 6244 dogwoofsales.com ABOUT THE FILM

NOTE OF INTENTION

CHAPTERS 1 - 40

ABOUT THE FILMMAKERS

ABOUT HOPSCOTCH FILMS

ABOUT DOGWOOF

INDEX ALICE GUY-BLACHÉ WOMEN MAKE Mark Cousins A NEW ROAD MOVIE THROUGH CINEMA PRODUCER John Archer

EXECUTIVE PRODUCERS Over a thousand film clips spanning Clara Glynn 13 decades, across 5 continents, over Women Make Film: A New Road Movie Through EDITOR A 16-HOUR 16 hours, Women Cinema is a guided tour through the history, art and Timo Langer JOURNEY WITH Make Film is an craft of the movies - through the lens of women. The epic 16-hour project, four years in the making NARRATORS TILDA SWINTON, epic exploration Tilda Swinton of cinema history and still in production, will be made up of chapters JANE FONDA through the lens of each to be narrated by different , others TBC AND OTHERS some the world’s Tilda Swinton and Jane Fonda are confirmed so greatest directors – all far with more to be announced. In the spirit of The COUNTRY women. Narrated by Story of Film: An Odyssey, Cousins asks how films are UK Tilda Swinton, Jane made, shot and edited; how stories are shaped and Fonda and more, shot how movies depict and reflect every day life. LANGUAGE English and edited by Mark Cousins - life, love, RUNTIME politics, humour and 960’ death, are all explored and examined in this DELIVERY cinematic road-trip 2019 like no other. WORLD SALES Dogwoof ABOUT THE FILM

Many years in the making, this bold follow-up to Mark Cousins’ The Story of Film uses over one thousand clips to show how movies are made. Comprised of 40 chapters, it asks questions like What movies did they make? What techniques did how a great opening shot is done, how to frame they use? What can we learn about cinema from an image, how to introduce a character, how to them? Film history has been sexist by omission. film sex, dance and death, how work and love are portrayed in cinema, and how the genres of Women Make Film looks at film again, through the comedy, melodrama and sci-fi work. eyes of the world’s women directors: it’s a new road movie through cinema. Uniquely, all these questions are answered using only clips from films directed by women. The This film is not about the directors’ lives. It’s not a famous female directors are included, but so are chronological history. It’s not an analysis of how scores of forgotten women from every period in women directors are different from men. And it’s film history and every continent. Women Make not one of those lists of the best films ever made. Film is a revealing eye-opener, a celebration of the art and craft of cinema, and a j’accuse to film No. It has cleaner lines than that. history. This film is about the films, the scenes. It answers Most films have been directed by men. Most of practical questions. What’s an engaging way to the so-called movie classics were directed by start a film? How do you set its tone? How do men. But for thirteen decades, and on all six you make it believable? What’s an inventive way filmmaking continents, thousands of women have of introducing a character? How do you make a been directing films too. Some of the best films. tracking shot magical? MIA HANSEN-LØVE The sort of questions you ask when you’re making films or watching them.

What about dream sequences, dance routines, the workplace or politics? How do you film bodies? What’s a great way to show love? Tension, memory or death? We’ll ask 40 such questions. In 40 chapters. 40 montages on the road. 40 stories about great cinema.

This is a film school of sorts, in which all the teachers are women. An Academy of Venus. It’s full of examples, hundreds of examples, a montage of scenes from movies across the world. And from many decades.

Your favourite films might not be here, your favourite directors might not be here. This film is not trying to be comprehensive. In fact some of the more famous films are avoided.

But there are surprises. Revelations.

Feel free to be angry because some of these great films have been overlooked.

But feel free to be delighted at the medium of film, and at the women on whose shoulders we stand. KIRA MURATOVA NOTE OF INTENTION

“Many films about cinema feature only male directors, so this one is a repost. It is a film school, where all the teachers are female. The intention of this film is to, as Diaghilev and Cocteau said, “astonish us.” To campaign for equality in cinema is compellingly right. Part of that campaign must be to celebrate the great women directors, to insert them into the canon where they rightly belong and from which they have been excluded by many film historians, mostly male. Women directors are only a part of that history – there are the great writers, producers, actors, of course, too – but there is much ignorance and blindness about women directing film. Our film will boldly challenge this blindness.”

- Mark Cousins, 2018

With examples from 1943 to 2013, from China to Iran, Australia to Finland, we look at how to open a film: from mysterious, direct, floating, foreboding to plunging straight in. All are instructive in how to create an immediate world. Learning from example. OPENINGS CHAPTER 1

The East is Red Wang Ping China 1965 First Comes Courage Dorothy Arzner USA 1943 The Silence of the Palaces Moufida Tlatli Tunisia 1994 The Quarry Marion Hänsel , France, Netherlands, Spain 1998 Strange Days USA 1995 Harlan County U.S.A. Barbara Kopple USA 1976 Innocence (Evolution?) Lucile Hadžihalilovic France 2004 Things To Come Mia Hansen-Løve France 2016 (1975) France, Belgium 1974 All For Mary Wendy Toye UK 1955 Sweetie Jane Campion Australia 1989 Thumbelina Lotte Reiniger UK 1954 Le Bonheur Agnès Varda France 1965 The Very Late Afternoon of a Faun Vera Chytilova Czechoslovakia 1983 The Black Dog Alison De Vere UK 1987 The 3 Rooms of Melancholia Pirjo Honkasalo Finland, Denmark, Germany, Sweden 2004 The Day I Became A Woman Marziyeh Meshkini Iran 2000 Blackboards Samira Makhmalbaf Iran-Italy-Japan 2000 Attenberg Athina Rachel Tsangari Greece 2010 Be My Star Valeska Grisebach Germany 2001 The Visitor Lola Randl Germany 2008 A Time to Die Dorota Kędzierzawska 2007 Butter on the Latch Josephine Decker USA 2013 The Last Stage Wanda Jakubowska Poland 1947 La Cienaga Argentina, France, Spain, Japan 2001 DOROTHY ARZNER TONE CHAPTER 2

What’s the tone of a film - not its story or theme, but what its world feels like? Back to Hollywood and director Dorothy Arzner with Merrily We Go to Hell and its glamorous amorous mood setting the tone. This chapter looks at the myriad of ways in which directors set the tone of their films: delight, anger, poetic, double tone, moral seriousness, caring, edgy, violence.

Merrily We Go to Hell Dorothy Arzner USA 1932 Wanda Barbara Loden USA 1970 Pet Sematary Mary Lambert USA 1989 Tank Girl Rachel Talalay USA 1995 On the 12th Day of Christmas. Wendy Toye UK 1955 By The Sea USA 2015 Peel Jane Campion Australia 1982 Beau Travail Claire Denis France 1999 Olivia Jacqueline Audry France 1951 Maedchen in Uniform Leontine Sagan Germany 1931 Sambizanga Sarah Maldoror Angola-France 1973 Two in One Kira Muratova Ukraine-Russia 2007 American Psycho Mary Harron USA 2000 A New Leaf USA 1971 Betoniyö Pirjo Honkasalo Finland, Sweden, Denmark 2013 SAMIRA MAKHMALBAF BELIEVABILITY CHAPTER 3

Why is Frau B Happy? Erika Runge Germany 1968 Kathryn Bigelow USA 2008 El Camino Ana Mariscal Spain 1963 Lore Cate Shortland Germany, Australia, UK 2012 Which Would You Choose? Dinara Asanova Soviet Union 1981 Hotel Very Welcome Sonja Heiss Germany 2007 Meek’s Cutoff Kelly Reichardt USA 2010 The Selfish Giant Clio Barnard UK 2013 Hedi Schneider is Stuck Sonja Heiss Germany 2015 Germany, Austria, Switzerland, Romania 2016 Point Break Kathryn Bigelow USA 1991 The Blot USA 1921 Frozen River USA 2008 Selma Ava DuVernay UK, USA 2014 Not a Pretty Picture Martha Coolidge USA 1976 The Apple Samira Makhmalbaf Iran, France 1998

INTRODUCING A CHARACTER CHAPTER 4

The Moon has Rise Kinuyo Tanaka Japan 1955 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 Vagabond Agnès Varda France 1985 Somewhere USA, UK, Italy, Japan 2010 Nana Valérie Massadian France 2011 The Connection USA 1961 The Watermelon Woman USA 1996 Wayne’s World Penelope Spheeris USA 1992 Fish Tank Andrea Arnold UK, Netherlands 2009 Ellen Mahalia Belo UK 2016 Girlhood Céline Sciamma France 2015 Toni Erdmann Maren Ade Germany, Austria, Switzerland, Romania 2016 The Story of the Flaming Years Yuliya Solntseva Soviet Union 1961 AGNÈS VARDA

Going to a house, overhearing people, witnessing bizarre action – there are many ways to meet people and be introduced to characters in films. In Shirley Clarke’s The Connection from 1961 she has a documentary crew introduce the characters to us; Andrea Arnold puts her characters centre of the frame in Fish Tank; and in The Story of the Flaming Years directed by Yuliya Solntseva the main character is introduced filmed like a statue on a building. MEET CUTE CHAPTER 5

Krane’s Confectionery Astrid Henning-Jensen Norway 1951 Brief encounters Kira Muratova Soviet Union 1968 The Seashell and the Clergyman Germaine Dulac France 1928 The Heartbreak Kid Elaine May USA 1972 Grand central Rebecca Zlotowski France, Austria 2013 One. Two. One Mania Akbari Iran 2011 The Visitor Lola Randl Germany 2008 A Girl Walks Home Alone at Night Ana Lily Amirpour USA 2014 Yaksha Gaanam D Sheela India 1976 Point Break Kathryn Bigelow USA 1991 Girlhood Céline Sciamma France 2015 Wanda Barbara Loden USA 1970 Vagabond Agnès Varda France 1985 Fleeting Loves Malvina Ursianu Romania 1974 Kill Me Emily Atef Germany, France, Switzerland 2012 Faithless Sweden, Italy, Germany, Finland, Norway 2000

ONE. TWO. ONE - MANIA AKBARI

The classic Hollywood trope of a “meet cute”, and a myriad of interpretations. From intimate glimpses to worlds colliding spectacularly. Unique examples such as the feverish pivotal meet cute in Germaine Dulac’s experimental The Seashell and the Clergyman, Céline Sciamma playing two girl gangs against each other in Girlhood, and the cynical FBI old guard meeting the idealistic newcomer in Kathryn Bigelow’s Point Break. Then a masterfully choreographed, layered meet cute in Mania Akbari’s One. Two. One captured in one wide shot composed like a Renaissance altarpiece. CONVERSATION CHAPTER 6 Places in Cities Germany 1998 Middle of Nowhere Ava DuVernay USA 2012 Girlhood Céline Sciamma France 2015 One Sings, The Other Doesn’t Agnès Varda Venezuela, France, Belgium 1977 Loving Couples Mai Zetterling Sweden 1964 The Very Late Afternoon of a Faun Vera Chytilova Czechoslovakia 1983 The Arch Cecile Tang Hong Kong 1968 The Virgin Suicides Sofia Coppola USA 1999 By the Sea Angelina Jolie USA 2015 Together Lorenza Mazzetti UK 1956 Sparsh Sai Paranjape India 1980 Come Early Morning Joey Lauren Adams USA 2006 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 The Attached Balloon Binka Zhelyazkova Bulgaria 1967 The Arbor Clio Barnard UK 2010 Hedi schneider is stuck Sonja Heiss Germany 2015 Harlan County U.S.A Barbara Kopple USA 1976 The 3 Rooms of Melancholia Pirjo Honkasalo Finland, Denmark, Germany, Sweden 2004 Tomboy Céline Sciamma France 2011

ANTONIA BIRD

A basic human interaction – how to make it cinematic? Angela Schanelec directs us to focus on body language in Places in Cities, Cecile Tang uses the zoom as guide through the emotional shifts in The Arch, and Sofia Coppola in The Virgin Suicides shows us an unspoken conversation through division with songs and split screens telling a story of impossible longing. FRAMING CHAPTER 7 One Sings, the Other Doesn’t Agnès Varda Venezuela, France, Belgium 1977 Lourdes Jessica Hausner Austria, France, Germany 2009 The Holy Girl Lucrecia Martel Argentina, Italy Netherlands-Spain 2004 Wanda (D) Barbara Loden USA 1970 Something Different Vera Chytilova Czechoslovakia 1963 Diary For My Children Mára Mészáros Hungary 1984 The Arch Cecile Tang Hong Kong 1968 I For India Sandhya Suri UK, Germany 2005 The Hitch-Hiker USA 1953 The Arch Cecile Tang Hong Kong 1968 The Cave of the Yellow Dog Byambasuren Davaa Hong Kong 1968 Butter on the Latch (D) Josephine Decker USA 2013 Blue Steel Kathryn Bigelow USA 1990 The Last Stage (D) Wanda Jakubowska Poland 1947 Stefan Zweig: Farewell to Europe Marla Schrader Austria, Germany, France 2016 Hard, Fast and Beautiful Ida Lupino USA 1951 A New Leaf Elaine May USA 1971 Something Different Vera Chytilova Czechoslovakia 1963 Ellen Mahalia Belo UK 2016 Outrage Ida Lupino USA 1950 Olympia Part 2: Festival of Beauty Germany 1938 Olympia Part 1: Festival of the Nations Leni Riefenstahl Germany 1938 Le Bonheur Agnès Varda France 1965 Marseille Angela Schanelec Germany, France 2004 Surname Viet Given Name Nam T. Minh-ha Tinh USA 1989 La Pointe Courte Agnès Varda France 1955

MÁRTA MÉSZÁROS

Frames describe and paint the scenes. They can make sport look balletic, like in controversial Nazi iconographer’s Leni Riefenstahl’s Olympiad. They shape the cinematic world - through impressionist glances in Kathryn Bigelow’s Blue Steel, suffocating close-ups in Lucrecia Martel’s The Holy Girl, and camera angles as extreme as the titular character’s emotions in Mahalia Belo’s Ellen. KATHRYN BIGELOW TRACKING CHAPTER 8

Tracking shots are to many an essence of filmmaking magic. They can ask questions and talk when hardly anyone else in the film is talking – like in Chantal Akerman’s D’Est or Marion Hänsel’s . In Antonia Bird’s Face, a seamless tracking shot gives us an illusion of the camera being the extension of our eyes. Kinetic in nature, tracking can help dynamically show and express a desperate escape, like in Ursula Meier’s Home.

Face Antonia Bird UK 1997 La Pointe Courte Agnès Varda France 1955 Outrage Ida Lupino USA 1950 Home Ursula Meier Switzerland, France, Belgium 2008 Wayne’s World Penelope Spheeris USA 1992 Anna’s Summer Jeanine Meerapfel Germany, Greece, Spain 2001 Le Lit Marion Hänsel Belgium, Switzerland 1982 La Pointe Courte Agnès Varda France 1955 Vagabond Agnès Varda France 1985 D’Est Chantal Akerman Belgium, France, Portugal 1993

MARIA SCHRADER STAGING CHAPTER 9

Scene staging is an element of film form pointing clearly to cinema’s origin – theatre. Kinuyo Tanaka in The Moon Has Risen uses staging to shape the scene’s invisible geometry, accentuating the tension between characters. Maren Ade in Toni Erdmann stages the scene through depth, facilitating the tragicomic punchline. And in Maria Schrader’s Stefan Zweig: A Farewell to Europe, the criss-crossing complex staging in the final scene makes the space where it takes place come alive.

The Moon has Risen Kinuyo Tanaka Japan 1955 Toni Erdmann Maren Ade Germany, Austria, Switzerland, Romania 2016 Fleeting Loves Malvina Ursianu Romania 1974 Two in One Kira Muratova Ukraine-Russia 2007 Girlhood Céline Sciamma France 2015 Unrelated Joanna Hogg UK 2007 I, the Worst of All María Luisa Bemberg Argentina 1990 The Enchanted Desna Yuliya Sointseva USSR 1964 Faces Places Agnès Varda France 2017 The Girls Mai Zetterling Sweden 1968 Stefan Zweig: Farewell to Europe Marla Schrader Austria, Germany, France 2016 JOURNEY CHAPTER 10

The Enchanted Desna Yuliya Sointseva USSR 1964 Thumbelina Lotte Reiniger UK 1954 Nana Valérie Massadian France 2011 The Asthenic Syndrome Kira Muratova Soviet Union 1990 The Sealed Soil Marva Nabili Iran 1977 Mickey and Nicky Elaine May USA 1976 Krane’s Confectionery Astrid Henning-Jensen Norway 1951 Course à la saucisse Alice Guy-Blaché France 1907 Love Letter Kinuyo Tanaka Japan 1953 Point Break Kathryn Bigelow USA 1991 Reloaded The Wachowskis USA-Australia 2003 Something New Nell Shipman USA 1920 American Honey Andrea Arnold UK-USA 2016 The Heartbreak Kid Elaine May USA 1972 Rain Paula Henrández Argentina 2008 The Babadook Australia-Canada 2014 Claire Denis France 2008 Certain Women Kelly Reichardt USA 2016 The Cave of the Yellow Dog Byambasuren Davaa Hong Kong 1968 LANA WACHOWSKIS

Movement is key to a motion picture, and journeys in film can be horizontal as well as vertical (into the self). Travel can be like glue and bind characters from two different worlds, like in Crane’s Confectionery where a middle class woman and working class man go on a moral journey against society. Driving can be a test of will and courage, like in Nell Shipman’s Something New. The mode of transportation itself can serve as a safe space and a social microcosm, like the car in Andrea Arnold’s American Honey. Or, like in Jennifer Kent’s The Babadook, it can take the character on a journey into their nightmares. SO YONG KIM

Discovery and revelation shape some of cinema’s most iconic moments. But beyond the best-known scenes, there lies the humanity, craft and insight of discovery – like in Céline Sciamma’s Tomboy, when the mother suddenly sees her child in a new light. There’s the discovery of the opposite sex’s naked form, like in the male-gaze-flipping scene from ’ Wonder Woman. Then in Sabiha Sumar’s Silent Waters the audience itself is guided through a discovery that changes everything about how they view the story. DISCOVERY CHAPTER 11

Treeless Mountain So Yong Kim USA, South Korea 2008 Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 Big Penny Marshall USA 1988 Avenue de L’Opera Alice Guy-Blaché France 1900 Sacrificed Youth Zhang Nuanxing China 1986 Diary for my children Mára Mészáros Hungary 1984 Tomboy Céline Sciamma France 2011 The Seashell and the Clergyman Germaine Dulac France 1928 Eternal Breasts Kinuyo Tanaka Japan 1955 Meek’s Cutoff Kelly Reichardt USA 2010 Wonder Woman Patty Jenkins USA 2017 The Hurt Locker Kathryn Bigelow USA 2008 Silent Waters Sabiha Sumar Pakistan, France, Germany 2003 Walking in the Land of the Old Marianne Ahrne Sweden, France 1978 Mr Pascal Alison De Vere UK 1979 Dreams of a Life Carol Morley UK-Ireland 2011 ADULT/CHILD CHAPTER 12

The famous movie genres – war pictures, westerns, etc – are about adults, but in this chapter Jane Fonda narrates the story of 18 films about children in film, from Germany, Belgium, Mongolia, Sweden, Russia, Canada, Senegal, Argentina and Scotland.

Home Ursula Meier Switzerland, France, Belgium 2008 The Hurt Locker Kathryn Bigelow USA 2008 A Real Young Girl Catherine Breillat France 1976 Sister Ursula Meier Switzerland 2012 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 Night Games Mai Zetterling Sweden 1966 Melody for a Street Organ Kira Muratova Ukraine 2009 Winter’s Bone Debra Granik USA 2010 The Owl Who Married A Goose Caroline Leaf Canada 1974 Lore Cate Shortland USA 2012 Frozen river Courtney Hunt USA 2008 Mossane Safi Faye Germany, Senegal 1996 XXY Lucía Puenzo Argentina, Spain, France 2007 We Need to Talk About Kevin UK, USA 2011 Sherrybaby Laurie Collyer USA 2006 A Portrait of Ga Margaret Tait UK 1952 ECONOMY CHAPTER 13

We’ve all seen overblown films, but what are the visual and story lessons we can learn from Claire Denis, Maria Louisa Memberg, Kinuyo Tanaka, Agnes Varda, Valeska Grisbach and Desiree Akhavan about keeping things simple?

Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 Innocence Lucile Hadžihalilovic France 2004 I, The Worst of All María Luisa Bemberg Argentina 1990 Beau Travail Claire Denis France 1999 The Eternal Breasts Kinuyo Tanaka Japan 1955 One Sings the Other Doesn’t Agnès Varda France 1977 My Star Tansulpan Burakayeva Russia 2010 Vagabond Agnès Varda France 1985 Appropiate Behaviour Desiree Akhavan UK 2014

EVOLUTION - LUCILE HADŽIHALILOVIC THE ARCH - CECILE TANG EDITING CHAPTER 14

How have filmmakers like Ava Du Vernay and Kathryn Bigelow in America, Sarah Maldorer in Mozambique, Leni Riefentahl in Germany, Drahomira Vihanova in the Czech Republic, and their editors, pushed the techniques of editing to their limits?

Middle of Nowhere Ava DuVernay USA 2012 Sambizanga Sarah Maldoror Angola, France 1972 Olympia 2 Leni Riefenstahl Germany 1938 The Hurt Locker Kathryn Bigelow USA 2008 Le Lit Marion Hänsel Belgium-Switzerland 1982 Squandered Sunday Drahomíra Vihanová Czechoslovakia 1969 The Girls Mai Zetterling Sweden 1968 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 Les Filles Du Roy Anne Claire Poirier Canada 1974 Marseille Angela Schanelec Germany, France 2004 Anna’s Sommer Jeanine Meerapfel Germany, Greece, Spain 2001 Go Go Go Marie Menken USA 1964 The Arch Cecile Tang Hong Kong 1968

AVA DUVERNAY

Is cinema the art of point of view? Jocelyn Moorhouse, Ida Lupino, Norway’s Edith Carlmar, Sofia Coppola, Italy’s Liliana Cavani, Kelly Reichart, the great Larisa Shepitko, Jennifer Kent and other great directors demonstrate the art of POV in films. POV CHAPTER 15

Proof Jocelyn Moorhouse Austrailia 1992 The Hitch-hiker Ida Lupino USA 1953 The Wayward Girl Lesley Selander USA 1957 The Beguiled Sofia Coppola USA 2017 The Year of the Cannibals Liliana Cavani Italy 1970 Meek’s Cutoff Kelly Reichardt USA 2010 Loving Couples Mai Zetterling Sweden 1964 The Ascent Larisa Shepitko Soviet Union 1977 Wings Larisa Shepitko Soviet Union 1966 Strange Days Kathryn Bigelow USA 1995 The Babadook Jennifer Kent Australia, Canada 2014 Fat Girl Catherine Breillat France, Italy 2011

CLOSE UP CHAPTER 16

If close-ups give movies their intensity, films from Belgium, Hungary, Australia, Finland, China, America, France, Germany and Ukraine, shot over ten decades, show how best to do that intensity.

A Real Young Girl Catherine Breillat France 1976 Adoption Márta Mészáros Hungary 1975 The Cheaters Paulette McDonagh Australia 1930 The 3 Rooms of Melancholia Pirjo Honkasalo Finland, Denmark, Germany, Sweden 2004 Xiu Xiu: The Sent-Down Girl Joan Chen Hong Kong, USA, Taiwan 1998 Madame’s Cravings Alice Guy France 1907 Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 Le Lit Marion Hänsel Belgium-Switzerland 1982 Arabesque Germaine Dulac France 1929 The Ascent Larisa Shepitko Soviet Union 1977

ANNE CLAIRE POIRIER FOROUGH FARROKZAD SURREALISM AND DRAEMS CHAPTER 17

One of the great movie stars, India’s Sharmila Tagore, narrates this bold chapter that looks at dreams in films, from Wayne’s World, to , to Jane Campion, Sally Potter, Bulgaria and silent movies.

Wayne’s World Penelope Spheeris USA 1992 Three Cases of Murder “In the Picture” Wendy Toye UK 1955 36 Chowringhee Lane Aparna Sen India 1981 At Land Maya Deren USA 1946 Meshes of the Afternoon Maya Deren USA 1943 The Portrait of a Lady Jane Campion UK, USA 1996 The Gold Diggers Sally Potter UK 1983 The Arch Cecile Tang Hong Kong 1968 La Pointe Courte Agnès Varda France 1955 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 The Attached Balloon Binka Zhelyazkova Bulgaria 1967 Daisies Věra Chytilová Czechoslovakia 1966 Diary for my Children Mára Mészáros Hungary 1984 Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 L’Invitation Au Voyage Germaine Dulac France 1927 The Black Dog Alison De Vere UK 1987 SOSAFI YONG FAYE KIM

Bodies in cinema can be enticing, dancing or brutalised. Jane Fonda narrates this chapter about how the great directors – including Agnes Varda, Andrea Arnold, Iran’s Marva Nabili, Finland’s Pirjo Honkasalo, Marta Meszaros and Poland’s Wanda Jakubowska – have filmed bodies. BODIES CHAPTER 18

One Sings the Other Doesn’t Agnès Varda France 1977 Chocolate Yasmin Ahmad Malaysia 2009 Tomboy Céline Sciamma France 2011 Fish Tank Andrea Arnold UK, Netherlands 2009 The Sealed Soil Marva Nabili Iran 1977 Betoniyö Pirjo Honkasalo Finland, Sweden, Denmark 2013 Beau Travail Claire Denis France 1999 A Girl Walks Home Alone at Night Ana Lily Amirpour USA 2014 Olympia 2 Leni Riefenstahl Germany 1938 Mustang Deniz Gamze Ergüven Turkey, France, Germany , Qatar 2015 Ritual in Transfigured Time Maya Deren USA 1946 The House is Black Forugh Farrokhzad Iran 1963 Oxhide Liu Jiayin China 2005 Faces Places Agnès Varda France 2017 Olympia 2 Leni Riefenstahl Germany 1938 The Last Stage Wanda Jakubowska Poland 1947 Hypocrites Lois Weber USA 1915 American Psycho Mary Harron USA 2000 Grand Central Rebecca Zlotowski France, Austria 2013 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 The Inheritance Marta Meszaros France, Hungary 1980 Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 ANDREA ARNOLD

From bodies to sex – the most controversial aspect of film. In this chapter Diane Kurys, Lucile Hadzihalilovic, Jamie Babbit, Safi Faye, Athena Rachel Tsangari, Alison DeVere, Carine Adler, Donna Deitch, , Lucia Puenzo, Maren Ade, Chantal Akerman and others show the best ways of showing sex on screen. SEX CHAPTER 19 Peppermint Soda Diane Kurys France 1977 Innocence Lucile Hadžihalilovic France 2004 But I’m a Cheerleader Jamie Babbit USA 1999 Mossane Safi Faye Germany, Senegal 1996 Attenberg Athina Rachel Tsangari Greece 2010 Dogfight Nancy Savoca USA 1991 Mr Pascal Alison de Vere UK 1979 American Honey Andrea Arnold UK-USA 2016 Under the Skin Carine Adler UK 1997 Le Bonheur Agnès Varda France 1965 Invisible Adversaries Valie Export Austria 1977 Desert Hearts Donna Deitch USA 1985 The Future Miranda July Germany, USA, France 2011 XXY Lucía Puenzo Argentina, Spain, France 2007 Toni Erdmann Maren Ade Germany, Austria, Switzerland, Romania 2016 Chantal Akerman France, Belgium 2000 American Psycho Mary Harron USA 2000 Fat Girl Catherine Breillat France, Italy 2011 Diary of a Teenage Girl Marielle Heller USA 2015 Nothing Bad Can Happen Katrin Gebbe Germany 2013 O Amor Natural Heddy Honigmann Netherlands 1996 HOME CHAPTER 20

Refuge, shelter, or prison? Sharmila Tagore narrates the story of home on screen in the great films of Edith Carlmar, Lynne Ramsay, Mai Zetterling, Liu Jiay-in, Forough Farrokhzad, Antonia Bird and others.

Wayward Girl Lesley Selander USA 1957 The Enchanted Desna Yuliya Sointseva Soviet Union 1964 Ratcatcher Lynne Ramsay UK, France 1999 Hedi Schneider is Stuck Sonja Heiss Germany 2015 Night Games Mai Zetterling Sweden 1966 Oxhide 2 Liu Jiayin China 2009 Tailpiece Margaret Tait UK 1976 The House is Black Forugh Farrokhzad Iran 1963 Safe Antonia Bird UK 1993 Home Ursula Meier Switzerland, France, Belgium 2008 Story of the Flaming Years Yuliya Solntseva Soviet Union 1961 Homeland of Electricity Larisa Shepitko Soviet Union 1967 RELIGION CHAPTER 21

Narrator Sharmila Tagore takes us on a global tour of great films about religion. We start in America in the 1910s, go to Sri Lanka in the 70s, and dip into the work of Lucretia Martel, Jessica Hausner and Marjane Satrapi.

Hypocrites Lois Weber USA 1915 The Girls Sumitra Peries Sri Lanka 1978 Khovanshchina Vera Stroyeva Soviet Union 1959 The Holy Girl Lucrecia Martel Argentina, Italy, Netherlands, Spain 2004 Homeland of Electricity Larisa Shepitko Soviet Union 1967 Priest Antonia Bird UK 1994 Lourdes Jessica Hausner Austria, France, Germany 2009 Persepolis Vincent Paronnaud, Marjane Satrapi France, USA 2007 The Key Carol Reed UK, USA 1958 MARIALIV ULLMANN SCHRADER WORK CHAPTER 22

Work seems too unglamorous for cinema, but as narrator Jane Fonda tells us, in films like American Honey, the silent Russian masterpiece Women of Ryazan, Venezuela’s Araya, Patty Jenkins’ Monster and Mary Harron’s American Psycho, some of the most engrossing scenes show work.

The Future Miranda July Germany, USA, France 2011 American Honey Andrea Arnold UK-USA 2016 Women of Ryazan Olga Preobrazhenskaya Soviet Union 1927 Araya Margot Benacerraf Venezuela, France 1959 Homeland of Electricity Larisa Shepitko Soviet Union 1967 Something Different Vera Chytilova Czechoslovakia 1963 Nana Valérie Massadian France 2011 The Selfish Giant Clio Barnard UK 2013 Skyscraper Shirley Clarke, Willard Van Dyke USA 1960 Monster Patty Jenkins Germany, USA 2003 Sherry Baby Laurie Collyer USA 2006 American Psycho Mary Harron USA 2000 Devotion Barbara Hammer Japan, USA 2000 The Brickmakers Marta Rodríguez, Jorge Silva Columbia 1972 The Silences of the Palace Moufida Tlatli Tunisia 1994

POLITICS CHAPTER 23

Another aspect of everyday life. From silent cinema to the 21st Century, movies from the visually astonishing The Enchanted Desna to Divorce Iranian Style to Bigelow’s Strange Days have gained their energy and attack from their politics.

The Enchanted Desna Yuliya Sointseva USSR 1964 In My Skin Marina de Van France 2002 The Fall of the Romanov Dynasty Esfir Shub Soviet Union 1927 The Triumph of the Will Leni Riefenstahl Germany 1935 Bhaji on the Beach Gurinder Chadha UK 1993 What Else is New? Tahmineh Milani Iran 1992 The Prize Tahmineh Milani Iran Tomka and His Friends Xhanfize Keko Albania 1977 Melody for a Street Organ Kira Muratova Ukraine 2009 Drowned Out Franny Armstrong UK 2002 Strange Days Kathryn Bigelow USA 1995 Love Letter Kinuyo Tanaka Japan 1953 Cuba: An African Odyssey Jihan El-Tahri France 2007 Finsterworld Frauke Finsterwalder Germany 2013 The Hidden Half Tahmineh Milani Iran 2001 GEAR CHANGE CHAPTER 24

We like to be taken by surprise in films. This short chapter, narrated by Sharmila Tagore, looks at such surprises.

Selma Ava DuVernay UK-USA 2014 Girlhood Céline Sciamma France 2015 Orlando Sally Potter UK , Russia , Italy , France , Netherlands 1992 Milarepa Liliana Cavani Italy 1974 The Asthenic Syndrome Kira Muratova Soviet Union 1990 The Connection Shirley Clarke USA 1961

ILDIKO ENYEDI BUT I’M A CHEERLEADER - JAMIE BABBIT COMEDY CHAPTER 25

Is comedy universal? Who have been the great comedy filmmakers around the world? Narrator Sharmila Tagore talks us through scenes from Big with Tom Hanks, Ida Lupino’s The Trouble With Angels, the great movies of Elaine May, the classic Norwegian comedy Fools on the Hill, and more.

Big Penny Marshall USA 1988 I’ve Heard the Mermaids Singing Patricia Rozema Canada 1987 Appropriate Behaviour Desiree Akhavan UK 2014 The Trouble with Angels Ida Lupino USA 1966 A New Leaf Elaine May USA 1971 The Heartbreak Kid Elaine May USA 1972 Obvious Child Gillian Robespierre USA 2014 But I’m a Cheerleader Jamie Babbit USA 1999 Fools in the Mountains Edith Carlmar Norway 1957 El Camino Ana Mariscal Spain 1963 Wayne’s World Penelope Spheeris USA 1992 Body Małgorzata Szumowska Poland 2015 Marlina the Murderer in Four Acts Mouly Surya Indonesia, France, Malaysia, Thailand 2018 The Attached Balloon Binka Zhelyazkova Bulgaria 1967

SOFIA COPPOLA MELODRAMA CHAPTER 26

A genre as popular as comedy, but what are some of the great scenes in melodrama? Sharmila Tagore narrates a story that takes us from the silent American film Shoes, to Kira Muratova’s brilliant Chekov’s Motifs, to Binka Zhelyazkova’s visually remarkable We Were Young.

Shoes Lois Weber USA 1916 Death is a Caress Edith Carlmar Norway 1949 Story of the flaming years Yuliya Solntseva Soviet Union 1961 Chekov’s Motifs Kira Muratova Ukraine, Russia 2002 You and Me Julie Lopes-Curval France 2006 Lowlands Leni Riefenstahl Austria, West Germany 1954 Squandered Sunday Drahomíra Vihanová Czechoslovakia 1969 We were young Binka Zhelyazkova Bulgaria 1961 Love Letter Kinuyo Tanaka Japan 1953 SCI-FI CHAPTER 27

Kathryn Bigelow, the Wachowski siblings, Patty Jenkins’ Wonder Woman, Lori Petty’s Tank Girl, the TV version of Margaret Atwood’s Handmaid’s tale. Our look at sci-fi takes us to unusual places, other realms.

The Matrix The Wachowskis USA 1999 Wonder Woman Patty Jenkins USA , China , Hong Kong 2017 Jupiter Ascending The Wachowskis USA , Australia 2015 Tank Girl Rachel Talalay USA 1995 Handmaid’s Tale USA 2017 Invisible Adversaries Valie Export Austria 1977 My 20th Century Ildikó Enyedi Hungary , West Germany , Cuba 1989 HORROR AND HELL SO YONG KIM CHAPTER 28

Literal, figurative, political, in Deepa Mehta’s Earth, Samira Makhmalbaf’s Blackboards, Jennifer Kent’s horror masterpiece The Babadook, Joanna Hogg’s squirm-making Archipelago, the Tunisian film The Silences of the Palaces, and more.

No Exit Jaqueline Audry, Britt Pitre France 1954 Ellen Mahalia Belo UK 2016 Earth Deepa Mehta India, Canada 1998 The Asthenic Syndrome Kira Muratova Soviet Union 1990 Blackboards Samira Makhmalbaf Iran-Italy-Japan 2000 Nothing Bad Can Happen Katrin Gebbe Germany 2013 Safe Antonia Bird UK 1993 NabelFabel Mara Mattuschka Austria 1984 A Girl Walks Home Alone at Night Ana Lily Amirpour USA 2014 Mossane Safi Faye Germany, Senegal 1996 We Were Young Binka Zhelyazkova Bulgaria 1961 The Babadook Jennifer Kent Australia-Canada 2014 Archipelago Joanna Hogg UK 2010 Swimmer Lynne Ramsay UK 2012 The Girl in the River Sharmeen Obaid-Chinoy USA , Pakistan 2015 The Silences of the Palaces Moufida Tlatli Tunisia 1994 Lore Cate Shortland USA 2012 Outrage Ida Lupino USA 1950 NOTHING BAD CAN HAPPEN - KATRIN GEBBE SOANTONIA YONG KIMBIRD TENSION CHAPTER 29

Thrillers, but much more. We look at gripping scenes in films as diverse as Joel DeMott’s documentary Demon Lover Diary, Kathryn Bigelow’s Blue Steel, Carol Morley’s Dreams of A Life, Mimi Leder’s Peacemaker, and ’ remarkable A Question of Silence.

Demon Lover Diary Joel DeMott USA 1980 Dreams of a Life Carol Morley UK, Ireland 2011 Archipelago Joanna Hogg UK 2010 Blue Steel Kathryn Bigelow USA 1990 Hotel Lisa Langseth Sweden, Denmark 2013 Evolution Lucile Hadžihalilovic France, Belgium, Spain 2015 The Wayward Girl Lesley Selander USA 1957 The Peacemaker Mimi Leder USA 1997 A Question of Silence Marleen Gorris Netherlands 1982 Selma Ava DuVernay UK, USA 2014 The Asthenic Syndrome Kira Muratova Soviet Union 1990

STASIS CHAPTER 30

Cinema is an action art, isn’t it? Or is it? Directors Angela Schanelec, Anouk Leopold, Kira Muratova, Chantal Akerman, Sharon Lockhart, and Pakistan’s Subiha Sumar, amongst others, show us the pleasures and beauties of the held moment

Places in Cities Angela Schanelec Germany 1998 Brownian Movement Nanouk Leopold Netherlands 2010 The Asthenic Syndrome Kira Muratova Soviet Union 1990 Kid Belgium, Netherlands , Germany 2012 A Question of Silence Marleen Gorris Netherlands 1982 Rendezvous D’Anna Chantal Akerman Belgium, France, West Germany 1978 Double Tide Sharon Lockhart USA, Austria 2009 Silent Waters Sabiha Sumar Pakistan, France, Germany 2003 Marlina The Murderer Mouly Surya Indonesia, France, Malaysia, Thailand 2018

LEAVE OUT CHAPTER 31

Movies show the world, but what happens when they don’t show something? In this chapter, some of the great filmmakers from around the world withhold a moment, a scene, and their films are better for it.

Chekov’s Motives Kira Muratova Ukraine, Russia 2002 Je Tu Il Elle Chantal Akerman France, Belgium 1974 The Sealed Soil Marva Nabili Iran 1977 The Day I’ll Never Forget Kim Longinotto UK 2002 Proof Jocelyn Moorhouse Austrailia 1992

THE WONDERS - ALICE ROHRWACHER REVEAL CHAPTER 32

Paired with chapter 31, is this one, it’s opposite. How does Lynne Ramsay do a reveal in Morven Caller? How does the great actor-director Kinuyo Tanaka? Or ? Or Italy’s Alice Rohrwacher?

Westworld Lisa Joy, Jonathan Nolan USA 2016 After the Tracks (pas gjurmëve) Xhanfise Keko Albania 1978 Morvern Callar Lynne Ramsay UK, Canada 2002 Story of the Flaming Years Yuliya Solntseva Soviet Union 1961 Love Letters Kinuyo Tanaka Japan 1953 Lourdes Jessica Hausner Austria-France-Germany 2009 Stories We Tell Sarah Polley Canada 2012 The Wonders Alice Rohrwacher Italy , Switzerland , Germany 2014 A THOUSAND SUNS - MEMORY CHAPTER 33

As cinema is a kind of time machine, it’s no surprise that it’s great at memory. In this chapter we look at rare movie gems about memory directed by filmmakers including Petra Costa, Greece’s Maria Plytya, Poland’s Dorota Kedzierzawska, Vera Chytilova, Mai Zetterling and Mati Diop.

Elena Petra Costa Brazil, USA 2012 The She-Wolf Maria Plyta Greece 1951 Pet Sematary Mary Lambert USA 1989 Poem of the Sea Yuliya Solntseva Soviet Union 1958 A Time to Die Dorota Kędzierzawska Poland 2007 Afternoon of the Faun Vera Chytilova Czechoslovakia 1983 Loving Couples Mai Zetterling Sweden 1964 The Enchanted Desna Yuliya Sointseva USSR 1964 Olympia 1-2 Leni Riefenstahl Germany 1938 A Thousand Suns Mati Diop France 2013 Return Liza Johnson USA 2011

TIME CHAPTER 34

Every filmmaker has to think about time. As this chapter shows, Alice Guy-Blache, Chantal Akerman, Hungary’s Ildiko Enyedi, Hanna Polak, Marie Menken and Sally Potter did so brilliantly.

Falling Leaves Alice Guy USA 1912 Rendezvous D’Anna Chantal Akerman Belgium, France, West Germany 1978 My 20th Century Ildikó Enyedi Hungary, West Germany, Cuba 1989 Thumbelina Lotte Reiniger UK 1954 Monster Patty Jenkins Germany, USA 2003 Something Better To Come Hanna Polak Denmark, Poland, Japan, Netherlands, USA 2014 The Gold Diggers Sally Potter UK 1983 Ravenous Antonia Bird Czech Republic, UK, USA, Mexico 1999 Go Go Go Marie Menken USA 1964 The She-Wolf Maria Plyta Greece 1951 The Future Miranda July Germany, USA, France 2011 Orlando Sally Potter UK, Russia, Italy, France, Netherlands 1992 Day I Became A Woman Marziyeh Meshkini Iran 2000

LIFE INSIDE CHAPTER 35

Novels are great at describing thoughts, but how do films do so? In this chapter, we see how great directors from France, Ukraine, the UK, America, New Zealand and Algeria used time in their movies

Seashell and the Clergyman Germaine Dulac France 1928 Wings Larisa Shepitko Soviet Union 1966 The Future Miranda July Germany, USA, France 2011 Bhaji on the Beach Gurinder Chadha UK 1993 Mikey and Nicky Elaine May USA 1976 An Angel at my Table Jane Campion New Zealand, Australia, UK, USA 1990 Film About A Woman Who USA 1974 La Zerda Assia Djebbar Algeria 1983 THE MEANING OF LIFE CHAPTER 36

In the last chapters of our story, we look at the biggest things in life. Here we see how great filmmakers across the world, and from many decades, try to get to the essence of life.

Together Lorenza Mazzetti UK 1956 Mermaid Anna Melikyan Russia 2007 Western Valeska Grisebach Germany, Bulgaria, Austria 2017 Now I’m Thirteen Shin Daewe Myanmar No year found. Rendezvous D’Anna Chantal Akerman Belgium, France, West Germany 1978 Betoniyo Pirjo Honkasalo Finland, Sweden, Denmark 2013 Woman Signe Baumane USA 2003 Sugar Cane Alley Euzhan Palcy France 1983 Digeh Che Khabar? Tahmineh Milani Iran 1992

ANTONIAMARIA SCHRADER BIRD

MERMAID - ANNA MELIKYAN LOVE CHAPTER 37

Movies soar with love, but can be too sentimental because of it. In this chapter we see great Chinese, Sri Lankan, American, Hungarian, Iranian, New Zealand, French, British, Korean, Turkish and Hong Kong films which avoid the pitfalls.

Sacrificed Youth Zhang Nuanxing China 1986 Gahanu Lamai Sumitra Peries Sri Lanka 1978 Me and You and Everyone We Know Miranda July USA, UK 2005 On Body and Soul Ildikó Enyedi Hungary 2017 Tales Rakhshan Banietemad Iran 2014 Jane Campion New Zealand, Australia, France 1993 Where I Am Is Here Margaret Tait UK 1964 The Intruder Claire Denis France 2004 Lone Scherfig UK, USA 2009 Wayward Girl Lesley Selander USA 1957 Treeless Mountain So Yong Kim USA, South Korea 2008 Mon Roi Maïwenn France 2015 Mustang Deniz Gamze Ergüven Turkey, France, Germany, Qatar 2015 The Widow Nam-Ok Park South Korea 1955 A Simple Life Ann Hui Hong Kong 2011 Heart of a Dog Laurie Anderson USA, France 2015 DEATH CHAPTER 38

The biggest subject in life, the most universal subject – no wonder that Japan’s Kinuyo Tanaka, Canada’s Caroline Leaf, Spain’s Ana Mariscal, Holland’s Paula Van der Oest and other great filmmakers in this chapter embrace it.

Eternal Breasts Kinuyo Tanaka Japan 1955 The East is Red Wang Ping China 1965 The Attached Balloon Binka Zhelyazkova Bulgaria 1967 Le Lit Marion Hänsel Belgium, Switzerland 1982 The Street Caroline Leaf Canada 1976 El Camino Ana Mariscal Spain 1963 The Selfish Giant Clio Barnard UK 2013 Tonio Paula van der Oest Netherlands 2016 A Time to Die Dorota Kędzierzawska Poland 2007 ENDINGS CHAPTER 39

We begin to end our epic road movie with films from Sonja Heiss, Larisa Shepitko, Ida Lupino, Lizzie Borden, Claire Denis and Maya Deren.

Hotel Very Welcome Sonja Heiss Germany 2007 Homeland of Electricity Larisa Shepitko Soviet Union 1967 Gahanu Lamai Sumitra Peries Sri Lanka 1978 Love Letters Kinuyo Tanaka Japan 1953 Hard, Fast and Beautiful to Know Ida Lupino USA 1951 35 Shots of Rum Claire Denis France 2008 Ritual in Transfigured Time Maya Deren USA 1946 SOGERMAINE YONG KIM DULAC

End with a song, they say, so our story does. Huang Shugin from China, Vera Stroeva from Russia, Scotland’s Margaret Tait, Alice Guy, Edith Carlmar, Celine Sciamma, Brazil’s Gilda de Ebreu, America’s Joan Micklin Silver, the great Shirley Clarke, Dorothy Arzner and Beyonce make music with their films.

We conclude our story, our road movie, and end in an unexpected place... SONG AND DANCE CHAPTER 40

Woman Demon Human Shuqin Huang China 1987 Boris Godunov Vera Stroyeva Soviet Union 1954 John Macfadyen Margaret Tait UK 1970 The Irresistible Piano Alice Guy France 1907 Olympia Leni Riefenstahl Germany 1938 Le Lit Marion Hänsel Belgium, Switzerland 1982 Elena Petra Costa Brazil, USA 2012 Nothing But Trouble Edith Carlmar Norway 1954 Longing Valeska Grisebach Germany 2006 Girlhood Céline Sciamma France 2015 Heidi Schneider is Stuck Sonja Heiss Germany 2015 Morven Callar Lynne Ramsay UK, Canada 2002 The Drunkard (O Ébrio) Gilda de Abreu Brazil 1946 Crossing Delancey Joan Micklin Silver USA 1988 Sambizanga Sarah Maldoror Angola, France 1972 The Connection Shirley Clarke USA 1961 Le Bonheur Agnès Varda France 1965 L’Une Chant Agnès Varda France 1977 Lemonade Ioana Uricaru Romania, Canada, Germany, Sweden 2018 MARK COUSINS JOHN ARCHER Director Producer

Mark Cousins is a Northern Irish – Scottish John Archer is the producer of the filmmaker and writer. His work as a feature documentaries Women Make director includes The Eyes of Orson Welles, Film, The Story of Film (Peabody Award The Story of Film: An Odyssey, a 15-hour 2014), Alasdair Gray: A Life in Progress, epic which won a Peabody Award and the I Am Belfast, Atomic, Living in Dread Stanley Kubrick Award; A Story of Children and Promise, Arcadia, Make Me Up and and Film, a feature documentary which Executive Producer of the film drama The also world premiered in Cannes; I Am Carer. He co-directed and produced the Belfast, a lyrical essay film about his home documentary Accidental Anarchist (2017). town; and his fiction debut Stockholm Archer has produced and executive ABOUT THE My Love, a grief musical starring and with produced over 600 hours of UK network FILMMAKERS music by Neneh Cherry. His latest book television. He is Managing Director of The Story of Looking was published in the Hopscotch Films producing both drama UK last year by Canongate. and documentaries. He has won both UK and Scottish BAFTAs and the Festival Prize from Florence’s Festival dei Popoli, was the founding Chief Executive of Scottish Screen and he is Chair of Independent Producers Scotland. CLARA GLYNN TILDA SWINTON JANE FONDA Executive Producer Executive Producer Narrator

Clara Glynn is Executive Producer of Tilda Swinton is a British actress and Jane Fonda is a two-time Academy Hopscotch Films productions Women performance artist. She is known for Award® winner, two-time BAFTA Award Make Film, Make Me Up, Glasgow Love and her roles in both arthouse films and winner, and four-time Golden Globe Apartheid and Eminent Monster. She is large-scale Hollywood productions. Award winner. In 2014, Fonda was the also an award winning television director She won the Academy Award® for Best recipient of the AFI Life Achievement her work ranges from the feature length Supporting Actress and the BAFTA Award. In 2017, she was awarded the documentaries Accidental Anarchist Award for Best Actress in a Supporting Golden Lion for Lifetime Achievement (Storyville); I Met Adolf Eichmann (BBC2); Role for her performance as Karen at the 74th Venice Film Festival. She The Stuarts and A History of Scotland Crowder in the 2007 film Michael recently appeared in Netflix series Grace (BBC); The Hidden Jews of Berlin and Love Clayton. She also won the BAFTA And Frankie. Sick (Channel 4). Her drama directing Scotland Award for Best Actress for includes Channel 4’s No Angels and BBC’s the 2003 film Young Adam, and has New Street Law. Her prize winning short received three Golden Globe Award films have been screened at festivals nominations. Swinton was given the including Edinburgh, Berlin, New York, Richard Harris Award by the British Los Angeles, Rome and Barcelona. Clara Independent Film Awards in recognition writes a returning legal series for Radio of her contributions to the British film 4 Behind Closed Doors. She’s written industry. a libretto Hagar in the Wilderness for composer Sally Beamish and a theatre play Safe Place for Oran Mor/The Traverse. Hopscotch Films makes international feature documentaries and drama from Recently Accidental Anarchist (Directors John Scotland. Archer, Clara Glynn) premiered at CPH:DOX and Arcadia (Director Paul Wright) at the BFI London Film Festival. As well as The Story of Film Hopscotch’s producer John Archer’s work with Mark Cousins includes I Am Belfast and Atomic: Living in Dread and Promise, screened with Mogwai performing the soundtrack live 40 times around the world. Current projects include Make Me Up, Scottish artist Rachel Maclean’s technicoloured dystopian fiction about being female in a consumer society; Harry Birrell (director Matt Pinder), one man’s life – and the twentieth century – captured in home movies; and Eminent Monster (director Steven Bennett) a shocking expose of Western ABOUT government’s love affair with torture. HOPSCOTCH FILMS Dogwoof is regarded as the foremost documentary specialist brand in the Founded in 2003 by Andy Whittaker, Dogwoof world, and is a stamp is a London-based, documentary film company of the highest quality integrating production, world sales and UK content. We sell distribution. Dogwoof has so far released 21 worldwide, distribute Oscar®-nominated documentaries, with three theatrically in the wins and an additional two BAFTA winners; notable UK and invest in the titles include Free Solo (the UK’s highest grossing production of creative documentary of 2018), Three Identical Strangers, feature docs and docu- The Act of Killing and Blackfish. Dogwoof’s TDog series. production investment fund has premiered two films in Sundance Film Festival - Westwood and Halston - with more in the production and post-production stage; the fund is focused on feature docs, docu- series, and remake rights, gearing up the company towards vertical integration. ABOUT DOGWOOF