This experimental film rearranges the same sentence 22 times: ‘A famous filmmaker said: “Cinema is the history of men filming women”’, while deconstructing the video image of a woman bathing in a w

An old woman is pushed in a wheelchair by her Aboriginal daughter (Marcia Langton) along a trail lined with rocks. They come to a stop by an outside toilet. The Aboriginal woman waits.

A mother sits holding her daughter, cradling her on her lap. A soft light falls over them. Beyond the light is darkness.

A pair of frail, gnarled feet. The Aboriginal daughter (Marcia Langton) on her hands and knees, gently washes her white mother’s arthritic feet.

The filmmakers draw the title of the film on their naked bodies. By throwing a tomato on the lens, they remind the viewer that all images are constructed.

In a montage of footage from 1970s feminist films, interlaced by narration and music, the clip proposes the notion of a new sisterhood. Summary by Adrienne Parr.

Using still photographs, personal narration, quoted correspondence and music, the mid-20th century history of the maternal side of the filmmaker’s family is detailed.

This clip juxtaposes the sounds of heavy breathing, a party with male voices and wolf whistling against the images of women’s faces, a bedroom with a woman in bed, and the ground outside, setting u

Using still photographs, personal narration, quoted correspondence and music, the early 20th century history of the maternal side of the filmmaker’s family is detailed.

The man (Syd Brisbane) laughs at the way his life is turning out, as the woman (Ulli Birvé) keeps changing locales, at her whim, from desert to forest to mountaintop.