This session, DKU Film Society turns its focus to female directors—not as a genre, nor as a category defined by identity alone, but as a curatorial lens through which cinema’s forms, politics, and ways of seeing can be re-examined.
From body horror and revenge fantasy to nostalgic documentary, reflection on domestic labor, alienation, mobility, and so forth, the select films in this screening series challenge dominant cinematic languages and narrative expectations. These works refuse to offer a singular female perspective per se. Instead, they present a constellation of voices, aesthetics, and concerns that complicate how stories are told, whose experiences are centered, and how power operates on and off screen.
We acknowledge a relative lack in presenting works by female directors in the past few sessions, yet this season is not about correction or representation for its own sake. Rather, please view it as an invitation to watch differently—to attend to framing, rhythm, silence, duration, and absence—and to ask how authorship shapes not only what we see, but how we are taught to see.
Please join us in a silver dream every week, as always.
Cordially,
Film Society
In no particular order:
某种物质The Substance(2024) by Coralie Fargeat
五至七时的克莱奥Cléo from 5 to 7 (1962) by Agnès Varda
美国精神病人American Psycho(2000) by Mary Harron
无依之地Nomadland(2020) by 赵婷Chloé Zhao
圣诗复仇Titus (1999) by Julie Taymor
家乡的消息News from Home(1976) by Chantal Akerman
爱情神话B for Busy(2021) by 邵艺辉 Shao Yihui
Email Address：
dkuhrc@dukekunshan.edu.cn
昆山杜克大学人文研究中心
Duke Kunshan University Humanities Research Center
