#géraldine laurent

[jazzplusplus]

Rhoda Scott Lady All Stars "I Wanna Move" @Jazz_in_Marciac 2022

Rhoda Scott (org), Airelle Besson (tp), Sophie Alour (ts), Céline Bonacina (bs), Lisa Cat-Berro (as), Géraldine Laurent (as), Anne Paceo (dr), Julie Saury (dr)

[detournementsmineurs]

"Bardot" mini-série de Danièle et Christopher Thompson sur Brigitte Bardot avec Julia de Nunez, Victor Belmondo, Oscar Lesage, Noham Edje, Jules Benchetrit, Géraldine Pailhas, Hippolyte Girardot, Yvan Attal, Anne Le Ny, Louis-Do de Lencquesaing, Laurent Stocker, Fabian Wolfrom et Mikaël Mittelstadt, mai 2023.

[highvoltagenews]

Star Swiss evolutionary biologist leaves his university under mysterious circumstances

Prominent evolutionary biologist Laurent Keller will “no longer be working for” the University of Lausanne as of 6 February, according to an email sent to members of the university’s Department of Ecology and Evolution. The email did not state a reason for the departure, or say whether it was voluntary.

A source within the department, who asked to remain anonymous because the university instructed employees not to comment on Keller’s departure, says department members have not been told why Keller has left. In a phone call Keller did not answer questions about why he is no longer at the university.

University of Lausanne spokesperson Géraldine Falbriard confirmed in an email that Keller is no longer employed there, but declined to comment further. Falbriard did not comment on whether his departure is related to misconduct or any ongoing investigation. The page for Keller’s research group was marked as “no longer active” on 9 February.

Keller, 61, has made his name studying the social behavior of ants, combining methods from behavioral ecology, genetics, and robotics. Last year, he won a major award from the American Society of Naturalists for his work, which has resulted in more than 350 papers. Despite the apparent splintering of his lab, Keller told there will “still be excellent work published by my students.”

The departmental email, “guarantee[d] commitments” to current members of Keller’s research group for the duration of their contracts. Says a prior collaborator of Keller’s who asked to remain anonymous because of the uncertainty surrounding his departure. “It’s not like you can just transfer a project to another boss.”

Since 9 February, three of Keller’s seven postdocs and one of his four Ph.D. students are no longer listed on Keller’s online lab page, and his team is now called a “former research group” on the University of Lausanne website.

[7starnews]

Laurent Keller se défend contre son licenciement de l’UNIL

Le professeur Laurent Keller, éminent spécialiste des fourmis, licencié le 6 février dernier par l’Université de Lausanne (UNIL) sur fond de harcèlement sexuel, conteste toutes les accusations portées à son encontre. Il va recourir contre son licenciement devant la justice.

Laurent Keller a confirmé ce mercredi à Keystone-ATS les informations publiées par le magazine américain «Science» et par «Heidi.News». «Je fais l’objet d’allégations de comportement répréhensible que je conteste en totalité. En 2019, j’ai été blanchi d’une accusation similaire par un rapport d’enquête officiel. L’accusation nouvelle formulée à mon encontre ne repose sur aucun fait avéré», explique-t-il dans un communiqué.

Action en justice

«Rien ne justifie aujourd’hui la mesure de licenciement qui m’a été signifiée, après 32 années de bons et loyaux services par le rectorat de l’Université de Lausanne», ajoute le spécialiste des fourmis mondialement reconnu. «J’entends du reste ouvrir prochainement action en justice contre cette procédure abusive».

«Nous allons déposer une action en dommage et intérêt contre l’UNIL auprès du Tribunal de prud’hommes de l’administration cantonale», a précisé son avocat Christian Bettex, revenant sur une information de Heidi.News. «Les accusations sont absolument contestées et on fera valoir ça avec vigueur».

«Toute ma vie»

Tant l’UNIL que Laurent Keller n’avaient souhaité faire de commentaires lors de la révélation du départ du biologiste à mi-février. Son avocat fait état d’accusation de harcèlement sexuel. La porte-parole de l’UNIL Géraldine Falbriard a, elle, confirmé qu’une enquête avait été confiée par l’UNIL à deux avocates externes.

«L’Université, c’est toute ma vie», confie à Keystone-ATS le chercheur de 62 ans, professeur à l’UNIL depuis 1996 et désormais ex-directeur du Département d’écologie et évolution. Son laboratoire continue de fonctionner, mais sans lui.

«Tout au long de ma carrière académique, j’ai attaché la plus grande importance à la science et à la transmission des savoirs dans un environnement d’études, de recherche et de travail ouvert et respectueux, sans distinction de genre, d’origine ou de hiérarchie. Ces valeurs m’ont toujours guidé, elles sont essentielles et je n’y ai jamais dérogé», déclare-t-il dans son communiqué.

Travaux révolutionnaires

De par ses travaux révolutionnaires, le scientifique a contribué à une meilleure compréhension de la sélection naturelle et de l’organisation sociale des organismes vivants. Il s’est fait un nom en étudiant le comportement social des fourmis, sa spécialité, en combinant des méthodes d’écologie comportementale, de génétique et de robotique.

Laurent Keller a été lauréat de nombreux prix en Suisse et à l’étranger. Parmi eux, le prix Marcel Benoist 2015, le «prix Nobel suisse». Tout récemment en 2022, l’American Society of Naturalists l’avait honoré pour ses recherches.

[hobodiffusion]

★ 23 août 2024 > bit.ly/hobo-23aout2024

★ Les nouveautés de nos éditrices et éditeurs disponibles au 23 août 2024 > bit.ly/hobo-23aout2024

Maxime RODINSON, Islam et capitalisme, Agone

Nada ELIA, Palestine, Remue-ménage

Jean-Pierre TERRAIL, La Crise de l'école et les moyens d'en sortir, La Dispute

Léon TROTSKY, Où va la France ?, Les Bons caractères

Jean-Pierre TERTRAIS, La Décroissance libertaire, Éditions du Monde libertaire

Philippe GODARD, Le Pouvoir selon Google, Éditions du Monde libertaire

Miguel "Mutis" SARRÓ, Café combat, Éditions du Monde libertaire

David PERDRIX, J'ai très envie de vous emmerder, Éditions libertaires

Pier Paolo PASOLINI & Gideon BACHMANN, Politique Polémique Pouvoir, Éditions Critiques

Bertrand OGILVIE, Inclassable enfance, La Tempête

COLLECTIF, Échecs et vomissements, Somme toute

Yuna VISENTIN, Spiritualités radicales, Divergences

Isabelle LE BOULANGER, Deviens ce que tu es, Goater

Douce DIBONDO, infra/seum, Blast

Manon DELATRE, Se faire virer (nouvelle édition), Éditions du commun

Fabienne JUHEL, Les putes sont des hommes comme les autres, Goater

Marie-Ève MILOT & Marie-Claude ST-LAURENT, Clandestines, Somme toute

COLLECTIF, Cinq éclats de siècles au féminin, Somme toute

Mathilde BRANTHOMME & Sara Danièle MICHAUD, Sous un ciel vide

Armonía SOMERS, L'Effondrement et autres histoires, L'atinoir

François LÉVESQUE, Histoires de films, Somme toute

Sylvain GAREL, Le FLQ dans la cinématographie québécoise, Somme toute

Stephanie MCMILLAN, Mort au capitalisme !, Éditions Libre

Cassandre CARDIET, Safari Graffiti, Goater

Géraldine BEAUMONT, Les Maisonnettes d'Aela et Lomig, Goater

"Il n’est qu’un moyen sûr au monde pour que les non-privilégiés obtiennent que leurs droits d’êtres humains soient respectés : leur donner une part dans le contrôle du pouvoir politique, abolir le plus de privilèges possible, et garantir ces conquêtes par des institutions adéquates et solides. On peut parer, si l’on veut, ces institutions de la phraséologie des préceptes musulmans, chrétiens, juifs, bouddhistes, stoïciens, kantiens et de mille autres. Mais les préceptes sans les institutions ne sont que vaine littérature et honteux camouflage d’iniquités fondamentales." Maxime Rodinson, Islam et capitalisme, Agone.

[ulkaralakbarova]

Five years after their summer together in Barcelona, Xavier, William, Wendy, Martine and Isabelle reunite. Credits: TheMovieDb. Film Cast: Xavier Rousseau: Romain Duris Wendy: Kelly Reilly Martine: Audrey Tautou Isabelle: Cécile de France William: Kevin Bishop Gérard: Olivier Saladin M. Boubaker: Zinedine Soualem Natacha: Evguenya Obraztsova Neus: Irene Montalà Grand-père: Pierre Gérald Barbara: Frédérique Bel L’homme qui veut aller aux toilettes dans le train (uncredited): Cédric Klapisch Kassia: Aïssa Maïga Edward: Gary Love Celia Shelburn: Lucy Gordon Mère Xavier: Martine Demaret Platane: Pierre Cassignard Madame Vanpeteguem: Hélène Médigue Productrice TV: Carole Franck Auteur Série: Robert Plagnol Directeur Série: Nicolas Briançon Michel Hermann – Editeur: Bernard Haller Soledad: Cristina Brondo Alessandro: Federico D’Anna Tobias: Barnaby Metschurat Lars: Christian Pagh Snowboarder: Lannick Gautry Jean-Édouard: Julien Guéris Odile: Laura Weissbecker Caroline – Copine Isa 1: Sophie Barbe Juliette – Copine Isa 2: Julie Durand Copine ‘Cogneuse’: Catherine Lebegue Copine Fête Isabelle: Florence d’Azémar Nounou Grand-père: Fatiha Cheriguene Concierge Xavier: Marie-Renée George Père Natacha: Igor Gusev Mère Natacha: Yelena Solovyova Frère Natacha: Aleksandr Karpukhov Père William: Nicholas Day Mère William: Amanda Boxer Copain Celia Moscou: Julien Hans di Capua Miguel: Jake Canuso Traductrice Russe: Senia Devine Chorégraphe Russe: Katrina Vasilieva Mac Master: Julien Pabion Journaliste ‘Prune’: Agathe Robilliard Journaliste Cosmo: Annette Faure Copine Xavier 1: Anne Steffens Copine Xavier 2: Stéphanie Ricco Copine Xavier 3: Isabelle Joly Lucas: Amin Djakliou Danceuse de ballet (uncredited): Amanda Jane Manning Danceuse de ballet (uncredited): Stéphanie Montreux Livreur (uncredited): Philippe Soucy La Fille de la Gare (uncredited): Eléonore Stern Film Crew: Screenplay: Cédric Klapisch Producer: Bruno Levy Producer: Matthew Justice Executive Producer: Elena Yatsura Music: Loïc Dury Editor: Francine Sandberg Orchestrator: Laurent Levesque Musician: Christophe Minck Key Makeup Artist: Judith Gayo Unit Production Manager: Anne Férignac First Assistant Director: Kira Sinelshikova Assistant Costume Designer: Julia Patkos Digital Colorist: Christine Szymkowiak Musician: Simon Andrieux Script Supervisor: Barbara Constantine Catering: Georges Gautier Production Accountant: David Kerney Extras Casting: Jeanne Millet Makeup Artist: Véronique Nguyen Set Dresser: Stephanie Guitard Key Grip: Colin Strachan Location Manager: Frédéric Vialle Location Manager: Martin Wady Assistant Unit Manager: Benjamin Dewaele Assistant Director Trainee: Samantha Mialet Second Unit Director: Bertrand Normand First Assistant Art Direction: Florian Sanson Art Direction: Tim Stevenson Assistant Camera: Mounia Lamrani Musician: Guillaume Dutrieux Administration: Géraldine Toitot Second Assistant Art Director: Chloe Leguay Key Grip: Michel Dechaud Assistant Camera: Kathy Sebbah Location Manager: Tony Hood Musician: Felix Niel Music: Bruno Epron Mahmoudi Production Manager: Caroline Levy Second Assistant Director: Ophélie Gelber Assistant Director Trainee: Gabriel Levy Assistant Sound Editor: Sophie Durand Sound Assistant: Sergey Ekinow First Assistant Camera: Julian Bucknall Lighting Technician: Philippe Wegiel Set Decoration: Shirley Robinson Compositing Supervisor: Sylvian Fabre Still Photographer: Jérôme Plon First Assistant Camera: Galatae Politis Director of Photography: Dominique Colin Assistant Unit Manager: Laurent Blu Unit Production Manager: Antoine Théron Third Assistant Director: Paul Bennett Sound: Xavier Prêtre Digital Intermediate Producer: Sophie Denize Production Secretary: Séverine Guignard Costume Design: Anne Schotte Props: Daniel Ainslie Sound Recordist: Vincent Laurence Boom Operator: Jean-François Schenegg Digital Compositor: Sebastien Dupuis Casting Assistant: Hermine Poitou Executive Music Producer: Monte Christo Painter: Thierry Poulet Sound Re-Recording Mixer: ...

[screenwritinggym]

Tahar Rahim et son épouse Leïla Bekhti et sa copine Leila Boumedjane et sa copine Géraldine Nakache et sa copine Adèle Exarchopoulos et sa copine Mélanie Laurent sont des paresseux. Ils peuvent travailler 120 heures par semaine comme Elon Musk, mais ILS SONT FAINEANTS ! Oui oui, tu as bien lu. FAINÉANT.

[chansonsinternationales]

Le Tour de France de la saxophoniste Géraldine Laurent

[sesiondemadrugada]

Happening (Audrey Diwan, 2021).

[genevieveetguy]

Happening (L'événement), Audrey Diwan (2021)

[jazzplusplus]

@Jazz_in_Marciac 2019 Hommage à Michel Petrucciani "Little Peace In C For U"

Joe Lovano - saxophone ténor, Géraldine Laurent - saxophone alto, Airelle Besson - trompette, Flavio Boltro - trompette, Jacky Terrasson - piano, Franck Avitabile - piano, Laurent Coulondre - orgue hammond, Philippe Petrucciani - guitare, Géraud Portal - contrebasse, Lenny White - batterie

[detournementsmineurs]

"OVNI(s) (Saison 1)" série créée par Clémence Dargent et Martin Douaire et réalisée par Antony Cordier (2021) avec Melvil Poupaud, Géraldine Pailhas, Daphné Patakia, Quentin Dolmaire, Michel Vuillermoz, Laurent Poitrenaux, Olivier Broche, Jean-Charles Clichet, Jonathan Lambert, Denis Mpunga, les jeunes Capucine Valmary, Alessandro Mancuso et Shyrelle Maï Yvart et la participation de Nicole Garcia, décembre 2022.

[moddsblog]

Visions de Femmes par Jerome Bonnet pour Madame Figaro

[pigeons-sitting-on-branches]

Asterix and Obelix: Mansion of the Gods (2014) Louis Clichy, Alexandre Astier 30-04-2019 Some fun moments. The design was pretty good and faithful to the comics, the animation was solid but the story was maybe a little uninspired.

[womencreativemusic]

Géraldine Laurent, France 

https://www.geraldinelaurent.com

[stainedglassgardens]

Favourite woman-directed films I saw in 2018

It’s funny because when the year started I thought I could never watch 52 films by women, considering that I usually barely watch fifty films a year, total. Then I watched 306 new-to-me films, out of which 105 were directed by women.

I saw so many good woman-directed films that I thought it would be hard to choose ten to make this list, but then I realised that I only had to include those films that absolutely blew my mind, and bam! Ten already.

Winter’s Bone (Debra Granik, 2010)

On Body and Soul (Testről és lélekről, Ildikó Enyedi, 2017)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

River of Grass (Kelly Reichardt, 1994)

The Midnight Swim (Sarah Adina Smith, 2014)

Raw (Grave, Julia Ducournau, 2016)

M.F.A. (Natalia Leite, 2017)

Daisies (Sedmikrásky, Věra Chytilová, 1966)

Always Shine (Sophia Takal, 2016)

Revenge (Coralie Fargeat, 2017)

Very broadly speaking, these ten can be divided into three categories. There’s gorey, imaginative, feminist genre -- Revenge, M.F.A., Raw; there’s visually and/or narratively boundary-expanding cinema -- Daisies, Always Shine, The Midnight Swim, We Need to Talk About Kevin, On Body and Soul; and then there are the indie stories about marginalised people, which might be my favourites of all -- here, River of Grass and Winter’s Bone.

When 2018 started I had only seen one film by Kelly Reichardt, and none by Debra Granik. Now they’re both among my favourite filmmakers. When I saw my first Kelly Reichardt film, years ago, I thought Wow, some people do make films about actual people. I’ve seen all of them now, and I liked all of them, but it wasn’t that hard picking River of Grass for this list -- there’s something so Carson McCullers, so Flannery O’Connor about the story, and visually it is so dreamlike.

I put Debra Granik together with Kelly Reichardt because their stories feel similar in many ways (and both feel similar to Agnès Varda’s), and seeing Winter’s Bone I was just completely blown away. It’s one of those films I would unreservedly call a masterpiece, and recommend to absolutely everyone. What places it above Leave No Trace (which I put as my number one new release of 2018) is the plot, and the ending especially, both completely surreal and mundane, like a cherry on top of spectacular acting and visuals worthy of Dorothea Lange .

Another slap in the face was We Need to Talk About Kevin. Together with a few other films in this list, it made me ponder what film can really do in terms of creating intricate, media-specific experiences that ultimately serve to provide a more rounded understanding of reality and what it means to be a person. We Need to Talk About Kevin was the first of these and probably had the biggest impact on me. Lynne Ramsay really is one of the few people with a completely unique vision.

I put Daisies, Always Shine, The Midnight Swim and On Body and Soul in the same category, although they don’t have a lot in common with each other, because they all have this aspect of visual and/or narrative boundary-pushing. It is so incredible that Daisies still feels like that to a first-time viewer today, even though it came out more than fifty years ago.

I saw Always Shine and The Midnight Swim around the same time and keep associating them in my mind for the nods to David Lynch, indie feel, and non-linear storytelling. Probably The Midnight Swim impressed me more, because it was the first time (and only, so far) that I saw a first-person narrative that looked quite like that.

On Body and Soul belongs in the same area of this mental map mainly because of the dream sequences. Before I saw it I probably would have found it impossible to talk about dreams in a way that didn’t feel recycled, but this managed just that. The juxtaposition of the wild forest animals at night with the cattle in the slaughterhouse during the day walks such a fine line between surrealism and social commentary, and the slaughterhouse sequences are all filmed with such incredible tact -- which only serves to make them more shocking.

Then there are the great genre films. Raw was fantastic, in part because it is so rare for a French person such as myself to find a French film to her liking, but also because everything about it felt so different -- it is firmly set in the horror genre, but it also draws from such a wide range of influences. M.F.A. and Revenge mirror each other in many ways, because they’re both rape-revenge films, a sub-genre I am incredibly glad and grateful that women are tackling in such interesting and challenging ways. I liked M.F.A. better, maybe, because it felt more real, and the ending better-thought-out, but if anything, I’d recommend a double-feature night to watch both.

Great films that didn’t quite make the cut, in no particular order:

Addicted to Fresno (Jamie Babbit, 2015): best sex comedy about actual grown-ups

I Think We’re Alone Now (Reed Morano, 2018): best post-apocalyptic “everyone is gone from the surface of the Earth but us” film

Ginger & Rosa (Sally Potter, 2012): best Cold-War England drama

Meek’s Cutoff (Kelly Reichardt, 2010) : best contemplative Western

Into the Forest (Patricia Rozema, 2015): best post-apocalyptic survivalist feminist film

Vagabond (Sans toit ni loi, Agnès Varda, 1984) : best film shot in my area of France

Khadak (Peter Brosens and Jessica Hope Woodworth, 2006): best science fiction film that takes place in Mongolia

Over time, I’m finding it easier and easier to watch more woman-directed films, both because I know where to look and because I’ll find it easier to relax and get into any genre at all when I know there’ll be infinitely less chance of rampant misogyny ruining an otherwise perfectly good film. It seems barely believable, now, to think that five years ago I didn’t know one single woman director, when clearly the quality and the variety are there, the work is there, and it stands so tall on its own.

Full 105-film list under the cut!

The Bad Batch (Ana Lily Amirpour, 2016)

Gas Food Lodging (Allison Anders, 1992)

Red Road (Andrea Arnold, 2006)

American Honey (Andrea Arnold, 2016)

A United Kingdom (Amma Asante, 2016)

Addicted to Fresno (Jamie Babbit, 2015)

The Selfish Giant (Clio Barnard, 2013)

Novitiate (Maggie Betts, 2017)

Bird Box (Susanne Bier, 2018)

Blue My Mind (Lisa Brühlmann, 2017)

Daisies (Sedmikrásky, Věra Chytilová, 1966)

The Kindergarten Teacher (Sara Colangelo, 2018)

Valley Girl (Martha Coolidge, 1983)

Palo Alto (Gia Coppola, 2013)

Lick the Star (Sofia Coppola, 1998)

The Beguiled (Sofia Coppola, 2017)

17 GIrls (17 Filles, Delphine Coulin and Muriel Coulin, 2011)

The Edge of Seventeen (Kelly Fremon Craig, 2016)

Bombshell: The Hedy Lamarr Story (Alexandra Dean, 2017)

Madeline’s Madeline (Josephine Decker, 2018)

Desert Hearts (Donna Deitch, 1985)

Raw (Grave, Julia Ducournau, 2016)

On Body and Soul (Testről és lélekről, Ildikó Enyedi, 2017)

Mustang (Deniz Gamze Ergüven, 2015)

Revenge (Coralie Fargeat, 2017)

The Spy Who Dumped Me (Susanna Fogel, 2018)

Deidra and Laney Rob a Train (Sydney Freeland, 2017)

Twinsters (Samantha Futerman and Ryan Miyamoto, 2015)

The Trader (Sovdagari, Tamta Gabrichidze, 2018)

The Lifeguard (Liz W. Garcia, 2013)

Lady Bird (Greta Gerwig, 2017)

They (Anahita Ghazvinizadeh, 2017)

Tig (Kristina Goolsby and Ashley York, 2015)

The Deuce of Spades (Faith Granger, 2011)

Winter’s Bone (Debra Granik, 2010)

Leave No Trace (Debra Granik, 2018)

Casting JonBenet (Kitty Green, 2017)

Fast Times at Ridgemont High (Amy Heckerling, 1982)

Axolotl Overkill (Helene Hegemann, 2017)

The Firefly (La Luciérnaga, Ana Maria Hermida, 2015)

Beach Rats (Eliza Hittman, 2017)

The Fits (Anna Rose Holmer, 2015)

The Land of Steady Habits (Nicole Holofcener, 2018)

Slums of Beverly Hills (Tamara Jenkins, 1998)

Private Life (Tamara Jenkins, 2018)

The Quiet Hour (Stéphanie Joalland, 2014)

Cameraperson (Kirsten Johnson, 2016)

By the Sea (Angelina Jolie, 2015)

Sweet Bean (あん, An, Naomi Kawase, 2015)

Lovesong (So Yong Kim, 2016)

I Feel Pretty (Abby Kohn, 2018)

Radius (Caroline Labrèche and Steeve Léonard, 2017)

Irreplaceable You (Stephanie Laing, 2018)

The Feels (Jenée LaMarque, 2017)

Breathe (Respire, Mélanie Laurent, 2014)

Galveston (Mélanie Laurent, 2018)

Octavio is Dead! (Sook-Yin Lee, 2018)

M.F.A. (Natalia Leite, 2017)

Aloft (Claudia Llosa, 2014)

The Loss of a Teardrop Diamond (Jodie Markell, 2008)

A New Leaf (Elaine May, 1971)

Dude (Olivia Milch, 2018)

The Dressmaker (Jocelyn Moorhouse, 2015)

I Think We’re Alone Now (Reed Morano, 2018)

Woodshock (Kate and Laura Mulleavy, 2017)

Girl Asleep (Rosemary Myers, 2015)

Tout ce qui brille (Géraldine Nakache and Hervé Mimran, 2010)

I Am Not a Witch (Rungano Nyoni, 2017)

Ginger & Rosa (Sally Potter, 2012)

Beneath the Harvest Sky (Aron Gaudet and Gita Pullapilly, 2013)

Angels Wear White (嘉年华, Vivian Qu, 2017)

Cargo (Ben Howling and Yolanda Ramke, 2017)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

You Were Never Really Here (Lynne Ramsay, 2017)

River of Grass (Kelly Reichardt, 1994)

Old Joy (Kelly Reichardt, 2006)

Meek’s Cutoff (Kelly Reichardt, 2010)

Night Moves (Kelly Reichardt, 2013)

Certain Women (Kelly Reichardt, 2016)

Into the Forest (Patricia Rozema, 2015)

Before I Fall (Ry Russo-Young, 2017)

Seeking a Friend for the End of the World (Lorene Scafaria, 2012)

The Riot Club (Lone Scherfig, 2014)

Cracks (Jordan Scott, 2009)

Everything Beautiful is Far Away (Pete Ohs and Andrea Sisson, 2017)

Waitress (Adrienne Shelly, 2007)

Laggies (Lynn Shelton, 2014)

Outside In (Lynn Shelton, 2017)

Berlin Syndrome (Cate Shortland, 2017)

Lipstick Under My Burkha (Alankrita Shrivastava, 2016)

The Midnight Swim (Sarah Adina Smith, 2014)

Buster’s Mal Heart (Sarah Adina Smith, 2016)

The Lure (Córki dancingu, Agnieszka Smoczyńska, 2015)

Always Shine (Sophia Takal, 2016)

Shirkers (Sandi Tan, 2018)

Already Tomorrow in Hong Kong (Emily Ting, 2015)

Kedi (Ceyda Torun, 2016)

Cléo from 5 to 7 (Cléo de 5 à 7, Agnès Varda, 1962)

Vagabond (Sans toit ni loi, Agnès Varda, 1984)

Love, Cecil (Lisa Immordino Vreeland, 2018)

Jupiter Ascending (The Wachowskis, 2015)

Mr. Roosevelt (Noël Wells, 2017)

Woman Walks Ahead (Susanna White, 2017)

Khadak (Peter Brosens and Jessica Hope Woodworth, 2006)

Salesman (Albert Maysles, David Maysles and Charlotte Zwerin, 1969)