From tales of familial trauma to body horror, documentary to fiction, Internationales FrauenFilmfestival provides a lively cross-section of female-led kino.
Internationales FrauenFilmfestival asks WHAT IF(FF)?

Exploring the Outer Edge of Film
Reviews and dispatches exploring the best new cinema premiering around the world.
From tales of familial trauma to body horror, documentary to fiction, Internationales FrauenFilmfestival provides a lively cross-section of female-led kino.
A personal tale of atomic devastation set in the stunning town of Nagasaki, Laurence Lévesque’s Okurimono is a slow-burn inquiry into the ever-present past.
Mother Vera displays its photography origins with stark yet visually striking black-and-white photography, depicting the life of a nun in remote Belarus.
Blessed with a treasure trove of archive material left by her father, Maria Stoianova shares her story growing up during the collapse of the Soviet Union
In All, Or Nothing At All, presented in two unique, each-way versions, Jiajun Zhang captures the modern malaise of contemporary Chinese capitalism.
With shades of Cassavetes, Pedro Freire’s Brazilian debut Malu is a spirited and claustrophobic homage to the influence of his chaotic mother.
Francisco Rodriguez Teare’s hybrid debut Otro Sol is a creative and crafty investigation of criminal and colonial legacies — in Chile and beyond.
Long consigned to the cinematic sidelines, perpetual extra Henrike Meyer gathers her manifold experiences into a touching journey of self-actualisation.
A loose adaptation of a live performance about a failed film, Zia Anger’s docufiction My First Film both deconstructs and reinvents the filmmaking process.
Near the 25th anniversary of Peaches’ explosive second album, The Teaches of Peaches gives gret insight into her life. We talked with the team behind the film.