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Réponse de femmes : Notre corps, notre sexe
Réponse de femmes : Notre corps, notre sexe (Agnès Varda, 1975)

    Women Reply

    Réponse de femmes : Notre corps, notre sexe
    Agnès Varda, France, 1975, 8’

    In 1975, International Women’s Year, as declared by the United Nations, Agnès Varda was invited by French television to contribute to the show F comme femme. The result is a Second Wave Feminist pamphlet where young and old, dressed and nude, proletarian and upper-class women answer the question: What does it mean to be a woman?

    The style of Women Reply is very typical of the politically engaged cinema of the 1960s and 1970s. This short film could feel terribly dated today, were it not for Varda’s success in transforming a series of dull slogans into a stimulating experience that is at once inventive and poetic.

    In what Varda herself calls a “ciné-tract,” various women talk about themselves in front of her camera: what they look like, their views on sex and desire, advertising, and the controversial maternal instinct. These women may be beautiful, unattractive, or downright ugly, but they all want to be treated as individuals and not as consumers and sex toys, only to end up as old, easily discarded ghosts. The group of women protests against the conditioning imposed on them by society and the suffocating gender roles that go with it.

    The most striking thing about this pamphlet is the scene in which a pregnant woman dances naked in front of the camera, without a shred of shame. Even a puritan could  appreciate such a (then) rare scene, unlike some viewers of French television who complained to Antenne 2 at the time about this “scandal.”

    Bio Agnès Varda

    Agnès Varda (1928-2019) was a Belgian-born French film director. She studied Art History at the École du Louvre and photography at the École des Beaux-Arts but also held a Bachelor’s in Literature and Psychology from the Sorbonne. While working as a photographer, Varda became interested in making a film, even though she knew little about the industry. Varda’s feature film debut was La Pointe Courte (1955), but her film Cléo de 5 à 7 (1961) established her name and became a landmark of the French New Wave. Varda wanted to make films in line with her time, rather than focusing on traditions or classical standards.

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    “Greatest” Short Films of All Time 2025

    02.02.2026

    As a collective love letter to the art of short-form moving image, yanco and Kurzfilm Festival Hamburg, together with Talking Shorts, invited filmmakers, curators, critics, and scholars worldwide to participate in a first-ever poll of its kind. Invitees were asked to nominate ten audiovisual works under sixty minutes that they personally consider the “greatest” of all time. Through this non-academic approach to canon-building, this has led to an inspiring list of 105 titles.

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    • This film was #44 in the “Greatest” Short Films of All Time 2025
      voted by Lauma Kaudzite, Elspeth Vischer, Anne Gaschütz, Pavel Mozhar, Selina Robertson, Sarah Wood
    documentary politics portrait

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    Water and Salt

    Luisa Mello, Belgium, Brazil, 2019, 10’

    A journey through the consciousness of a woman whose country is under threat from a fascist government.

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    Herman@s (Les Adelphes)

    Hélène Alix Mourrier, France, 2021, 29’

    Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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    I Don’t Feel At Home Anywhere Anymore

    Viv Li, Belgium, China, 2020, 16’

    A wistful but witty account of a trip to Beijing by filmmaker Viv Li, a Chinese art student who has been living abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.

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    Magic, a portrait of Joris

    Chloë Delanghe, Belgium, 2018, 15’

    In Magic, a portrait of Joris, images sourced from different periods in time are glued together. Worn-out VHS footage filmed by the artist’s father is placed beside 8mm images she filmed herself. Both have the same subject: one boy, both a son and a brother. Connecting images of then and now, a new narrative of remembering opens up.

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    Note on Multitude

    Ibro Hasanović, Belgium, Kosovo, 2015, 8’

    Intimate, emotional, and sometimes violent moments of farewell: men, women, and children leave their homes for an (unknown) future as migrants.

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    Trains de plaisir

    Henri Storck, Belgium, 1930, 8’

    The beach and its sunbathers. A series of sketches, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

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    Empty House

    Gina Kim, South Korea, USA, 1999, 24’

    This video diary depicts a young woman’s flat, the fears and fantasies about her body plainly revealed as she wakes up with a bloated face, full of self-loathing after a night of compulsive over-eating.

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    Workers Leaving the Lumière Factory

    Louis Lumière, France, 1895, 1’

    A man opens the large gate of the Lumière factory in Lyon, France, in 1895. Through the gate and a smaller door next to it, workers stream out for lunch. Once all the workers have left the factory, the gatekeeper closes the gate again.

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