Lizzie Borden

“We are the stories we tell ourselves.” Seeing is Believing: Women Direct is a documentary series about directors, leaders… who happen to be women.Audiences will hear directly from women who are on the front lines of the field: from major award winners to NYU students, festival darlings to frustrated auteurs. They will discover the pathways to successful creativity as well as how these filmmakers drive through obstacles creative, cultural, and professional. The film ultimately will act as a toolbox for any filmmaker as well as “peer to peer mentorship” for any person who is looking for creative or professional guidance as they move toward their own dreams of being a visual storyteller.

Over three silent sequences, the short film shows moments of sustained, internal tension just before an emotional outburst on the part of the protagonists.

Blank City est le récit de la vie d’un groupe disparate de réalisateurs rebelles, dans un New York au bord de la faillite, à la croisée des chemins. De la fin des années 1970 au milieu des années 1980, alors que la ville n’était qu’un terrain vague de locations et de drogues douteuses, ces réalisateurs ont façonné des œuvres osées, ayant eu une profonde influence sur le développement du cinéma indépendant tel qu’on le connaît aujourd’hui.

Documentary about women in the film industry. Numerous notable actresses and female directors share their thoughts.

A group of misfits sets out from Los Angeles for a destination they never arrive at.

A group of misfits sets out from Los Angeles for a destination they never arrive at.

The sexual fantasies of women are explored by three female directors.

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

Softcore anthology film containing stories: "Brush Strokes"; "Shrink Rap"; "Doubletalk"; "The Leda"; "My Secret Moments"; "Life Is For The Taking"; "The Diaries"; "Love The One You're With"; and "My Better Half".

In this experimental film, Borden explores the dynamics among the members of a woman’s group. As she interviews people who know them, such as Joan Jonas, the group shoots ‘artistic’ scenes of themselves – but Borden feels they aren’t fully grappling with issues of sexuality and politics. Are they a serious group – or just friends? After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group’s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.

In this experimental film, Borden explores the dynamics among the members of a woman’s group. As she interviews people who know them, such as Joan Jonas, the group shoots ‘artistic’ scenes of themselves – but Borden feels they aren’t fully grappling with issues of sexuality and politics. Are they a serious group – or just friends? After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group’s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.

In this experimental film, Borden explores the dynamics among the members of a woman’s group. As she interviews people who know them, such as Joan Jonas, the group shoots ‘artistic’ scenes of themselves – but Borden feels they aren’t fully grappling with issues of sexuality and politics. Are they a serious group – or just friends? After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group’s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.

The sexual fantasies of women are explored by three female directors.

The sexual fantasies of women are explored by three female directors.

The sexual fantasies of women are explored by three female directors.

Monsters is a syndicated horror anthology series which originally ran from 1988 to 1991 and reran on the Sci-Fi Channel during the 1990s. As of 2011, Monsters airs on NBC Universal's horror/suspense-themed cable channel Chiller in sporadic weekday marathons. In a similar vein to Tales from the Darkside, Monsters shared the same producer, and in some ways succeeded the show. It differed in some respects nonetheless. While Tales sometimes dabbled in stories of science fiction and fantasy, this series was more strictly horror. As the name implies, each episode of Monsters featured a different monster which the story concerned, from the animatronic puppet of a fictional children's television program to mutated, weapon-wielding lab rats. Similar to Tales, however, the stories in Monsters were rarely very straightforward action plots and often contained some ironic twist in which a character's conceit or greed would do him in, often with gruesome results. Adding to this was a sense of comedy often lost on horror productions which might in some instances lighten the audience's mood but in many cases added to the overall eeriness of the production.