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The 100 best feminist films of all time

We salute the women—onscreen and off—of Hollywood’s most rousing triumphs and classics from around the world

100 feminist films
By Abbey Bender, Cath Clarke, Phil de Semlyen, Tomris Laffly, Helen O’Hara, Joshua Rothkopf, Anna Smith and Hannah Streck |

Let’s hope the seismic waves triggered by #MeToo and #TimesUp result in serious, lasting change—the kind that marks one generation from the next. In the meantime, we're inspired. We're furious. And we want to watch the best feminist movies of all time. From Oscar-winning classics like ‘Norma Rae’ and ‘Thelma & Louise’ to ferocious action movies like ‘Foxy Brown’ and ‘Kill Bill’, we've packed decades of empowerment into our list, along with the landmark accomplishments of women directors, women screenwriters and women documentarians. 

A promise: If you watch all of these films—and take your time, because they're all worth savouring—you'll become a better person, more aware of the distance we've come and how far we still have to go. 

Recommended: London and UK cinema listings, film reviews and exclusive interviews.


Best feminist movies

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)

Among the greatest films ever made, Chantal Akerman's nearly three-and-a-half-hour masterpiece (not a second overlong) puts a widowed housewife, stuck in a mundane life and made invisible by social order, front and center. In this searing homage to nameless mothers and homemakers everywhere (including her own), Akerman creates the cinematic equivalent of a hypnotic metronome as she meticulously presents Jeanne (Delphine Seyrig) and her checklist of tasks—cooking, cleaning, shopping, parenting and, with a shock, sex work—to make ends meet over the course of three suffocating days. Thanks to Akerman's rhythmic discipline, each of Jeanne's slightly out-of-the-ordinary acts land with a disturbing thud as they grow in number and tip the banal domestic balance, eventually driving her to cold-blooded murder. Groundbreaking in its unblinking, real-time portrayal of unglamorous house chores as a means of validating female frustration, 'Jeanne Dielman's feminist resonance is cemented in perpetuity.Tomris Laffly

His Girl Friday
Film, Comedy

His Girl Friday (1940)

It's depressing that a 78-year-old comedy offers a more hopeful depiction of workplace gender relations than most movies today. Rosalind Russell's Hildy Johnson is a star news reporter with a soaring career and unrivaled professional respect. Her mostly male peers treat her with wary deference while her boss and ex-husband (Cary Grant's Walter Burns) engineers a byzantine plot to win back her love and – not so incidentally – her byline. After all, while Walter claims to have taught her everything she knows, Hildy is a woman who has always had the gumption, self-belief and tenacity to do whatever she wants. Her ability to listen better than her bullish peers, to offer sympathy and warm confidence, is the key to her scoops, though she can also get down and dirty with the lowest of muckrakers to land a story. Her relationship with Walter is based on being smarter, funnier and more quick-witted than anyone else, and that's a feminist's dream front-page headline.Helen O'Hara

The Piano

The Piano (1993)

Jane Campion awakened a generation of female filmmakers with movies about women that were too wild, too difficult, too rebellious for societies that stifled their independence. Her best and most loved film is this one, starring Holly Hunter as Ada, a mute pianist living in 19th-century Scotland who is married off to a man she’s never met in New Zealand (Sam Neill). After her husband refuses to lug her instrument up from the beach to his house, Ada exchanges sexual favors with a local ex-sailor (Harvey Keitel) to get it back, key by key. But Ada is no victim. ‘The Piano’ explores eroticism and fetishism through a female gaze. And like all Campion’s female protagonists, Ada is thrillingly complicated and contradictory. The movie garnered acclaim and awards, including Cannes' Palme d’Or and three Oscars. Grim statistic alert: Campion was only the second woman in history to be nominated for Best Director by the Academy. She lost to Steven Spielberg but her film is an all-time winner.Cath Clarke

Cléo de 5 à 7
Film, Drama

Cléo from 5 to 7 (1962)

France's Agnès Varda has long been a feminist film icon, and it's heartening to see her still making movies well into her eighties (including the recent ‘Faces Places’). The work for which she is best known, ‘Cléo from 5 to 7’, is a sensitive, deceptively simple portrait of womanhood. Corinne Marchand plays Cléo, a young singer awaiting the results of a serious medical test during the title's evening time frame. Over the course of the plot, we aren't subjected to over-the-top melodrama but rather, are immersed in Cléo's psyche. We see how she defines herself, frequently gazing into mirrors and contemplating her beauty (and confronting her nerves), and feel some of the struggles she endures in dealing with men who don't take her seriously. Varda’s style is intimate, allowing us to get to know this person in real time. The decision to show a woman considering her own mortality – without judgement or excessive emotion – is an inherently political one, and Varda executes it beautifully.Abbey Bender

A Woman Under the Influence

A Woman Under the Influence (1974)

The phrase ‘strong female character’ only gets you so far. What about the women who suffer mental-health problems, who are fragile or flawed, unable to cope? In ‘A Woman Under the Influence’ Gena Rowlands gives one of the movies' fiercest performances as Mabel, a housewife married to a construction worker (Peter Falk). Mabel tries hard to keep it together, but she's drinking and on the edge. Directed by Rowlands’ husband, the indie legend John Cassavetes, this is a film about a person who is unwell, verging on breakdown. But it’s also one about the roles of Italian-American stay-at-home moms in 1970s Los Angeles. Mabel has been ignored, her spirit broken. It’s a tribute to the realness of the film and Rowlands’s three-dimensional portrait that you end up wondering: What kind of life did Mabel dream of, this quirky woman who ended up in a one-bedroom apartment full of kids and no room to breathe?Cath Clarke

daughters of the dust
Film, Drama

Daughters of the Dust (1991)

A film unlike anything you've seen (or will see), Julie Dash's rapturous feature debut is set at a moment of wrenching cultural crisis, when the island-dwelling Gullah– former African slaves living off the coast of South Carolina – decide in August 1902 to head to the nearby American mainland and endure the pain of a second separation from their past. The movie has the softness of a dream, from its pink-hued beaches and painterly compositions (shot by Arthur Jafa) to the lilting, incantatory sound of these West African-inflected accents. But a deeper attachment comes with the plot's evocation of old traditions slipping through the fingers of the matriarchal Peazant clan. Dash, who broke out at 1991's Sundance Film Festival alongside such nobodies as Richard Linklater and Todd Haynes, never enjoyed the career she rightfully deserved. But notably, ‘Daughters of Dust’ would be the first film directed by an African American woman to gain theatrical distribution. Beyoncé's ‘Lemonade’ cribs from Dash's visual serenity and defiance; do your part and check out the source.Joshua Rothkopf

Film, Drama

4 Months, 3 Weeks and 2 Days (2007)

Unambiguously pro-choice, writer-director Cristian Mungiu's reckoning with Romania's shameful history against women hits a present-day nerve, as safe and easy access to women's healthcare hangs by a thread in America. Set in 1987 at the tail end of Nicolae Ceaușescu's oppressive regime, ‘4 Months’ unfolds in elaborate long takes (one of them took five days to get right). It follows Otilia (Anamaria Marinca) as she helps her college roommate, Găbița (Laura Vasiliu), secure an illegal – and potentially fatal – abortion through an erratic plan involving a predatory provider. Suffused with imminent physical threat, Mungiu's Palme d'Or winner makes the viewer an involuntary eyewitness to acts of escalating desperation, necessitated by governmental tyranny in a world where women aren't allowed to make decisions about their own bodies. The onscreen restlessness of the two characters grows with our sympathy for them—and for those around the world robbed of options.Tomris Laffly

Film, Action and adventure

Mad Max: Fury Road (2015)

The road warrior meets his match in George Miller’s staggering, nutso ‘Mad Max’ reboot. Boasting an entirely unprecedented cinematic marriage of exploding vehicles and feminist fury, its spark is lit by Charlize Theron’s enraged, full-throttle Imperator Furiosa, a woman who really doesn’t care if you think she looks cool in an armour-plated truck. In fact, the film’s putative hero, Max Rockatansky (Tom Hardy), is reduced to onlooker for most of the action, squirreled away in the rig and kept away from the important buttons. It’s Furiosa who drives both vehicle and story, hitting back at the bilious patriarch Immortan Joe by liberating his wives and making a run for it. Is it a feminist masterpiece? Maybe the ending lets it down, with Max getting his hero moment while Furiosa lies wounded, and maybe the wives, sorta-clad and supermodel beautiful, are as much eye candy as mythical totems of womanhood. Maybe. But how many movies have a clutch of kickass women basically tearing down a malignant patriarchy with their bare hands? And how many action films stick the man in the passenger seat? This one deserves saluting.Phil de Semlyen

Diane Lane in Ladies and Gentlemen, the Fabulous Stains (1981)

Ladies and Gentlemen, the Fabulous Stains (1982)

Movies don't come cooler than this early '80s cult classic, featuring Diane Lane as Corinne Burns, the teenage leader of an all-girl punk band, the Stains. The group may not be the most musically talented but they possess admirable style and brash confidence. The film is a fiery testament to the enduring power of teenage girlhood: As the Stains grow in popularity, hordes of female fans start dressing up like Corinne (in her severe red-and-black look, with heavy Aladdin Sane eye makeup), and the shots of these crowds are strangely moving. Punk, with its embrace of the profane, was often considered masculine territory, but ‘Ladies and Gentlemen, the Fabulous Stains’, showed how it could be just as vital (if not more so) as an act of female rebellion and self-expression. Corinne is wildly quotable: Her musing that ‘every girl should be given an electric guitar on her 16th birthday’ is downright inspiring.Abbey Bender

Thelma & Louise
Film, Comedy

Thelma & Louise (1991)

‘How would you feel if someone did that to your mother, your sister, your wife?’ That’s Louise (Susan Sarandon), letting it rip at a truck driver who’s been making disgusting gestures on the highway. ‘Thelma & Louise’ recently turned 25 but depressingly, its enough-is-enough message – calling time's up on sexual harassment and predators – has never been more timely. When Louise shoots dead the creep who attempts to rape Thelma (Geena Davis), they don’t call the police, knowing they won’t be believed. Would they do anything differently in 2018? ‘Thelma & Louise’ revolutionised female buddy movies with its game-changing portrayal of a pair of avenging friends on the run. Was its victory limited? Here’s Sarandon at the Cannes Film Festival in 2017: ‘After ‘Thelma & Louise’, they predicted there would be so many films starring women. But it didn’t happen.’ There's still time to make this come true.Cath Clarke

Desperately Seeking Susan
Film, Comedy

Desperately Seeking Susan (1985)

Director Susan Seidelman captured lightning in a bottle with this wildly funny NYC ode to the power of the girl crush. Madonna is the ultimate downtown lust object, and Rosanna Arquette is the idle housewife who only wants to be her. Blessedly, Seidelman turns good girl-bad girl archetypes on their head by letting both women flourish.Abbey Bender

Diary of a Lost Girl

Diary of a Lost Girl (1929)

This silent film is more a catalogue of horrifying misogyny than a tale of female empowerment, but it's still compelling to watch Louise Brooks – iconic for her bob alone – go from rape victim to sad prostitute to belated heroine. In contrast, Brooks herself was born a fighter, embodying the entire flapper era and standing up to the studios long before it was cool.Helen O'Hara

Film, Fantasy

Orlando (1992)

As far as movie pitches go, ‘Tilda Swinton bending gender across space and time’ is our kind of bold. Extremely loosely based on a Virginia Woolf novel (but with every change a purposeful one), director Sally Potter’s one-of-a-kind odyssey is a sumptuous feast of shifting identities and queerness, with Swinton's regal, mysterious presence at its centre.Abbey Bender

The Silence of the Lambs, The 100 best movies on Netflix
Film, Thrillers

The Silence of the Lambs (1991)

Hannibal Lecter may hog the internet memes but it's Clarice Starling who solves the case. She does all the convincing, develops the clues and ends up in that dark room alone with the killer. Jodie Foster's performance – terrified but tenacious – is better than Anthony Hopkins's lip-smacking turn, and her struggle for professional success drives the story.Helen O'Hara

Photograph: Christine Plenus/October/Studio Canal +/Films Du Fleuve/Kobal/REX/Shutterstock
Film, Comedy

Rosetta (1999)

Trailer-park-dwelling teen Rosetta (Émilie Dequenne, on fire) just wants to keep her crummy job at the waffle shack. But a fickle boss and an untrustworthy coworker take advantage of her in this knockout by Belgium's close-hovering Dardenne brothers. Impressively, a rumour arose that ‘Rosetta’ inspired real-life tweaks to its country's worker-protection laws; that wasn't the case, but you could believe it.Joshua Rothkopf

The 100 best horror films, horror movies, Alien
Film, Science fiction

Alien (1979)

Set on a grungy space freighter prowled by a creature that essentially impregnates crew members, Ridley Scott's sci-fi-horror landmark is loaded with examples of what theorists call the ‘monstrous feminine’. But there's no denying the presence of Sigourney Weaver, chain-smoking her way toward icon status, coolly upending conventions and even saving the cat.Joshua Rothkopf

Persona (1966) Bibi Andersson and Liv Ullmann

Persona (1966)

Few images symbolise the complexity of womanhood as potently as the abstract yet startlingly intimate close-ups of Bibi Andersson and Liv Ullmann in Ingmar Bergman's arthouse classic. A key visual referent for over 50 years, the film is an intense dive into female psychology and the ways it can both seduce and fracture.Abbey Bender

Pam Grier, Foxy Brown (1974)
Film, Thrillers

Foxy Brown (1974)

Here's your first lesson in any serious appreciation of Pam Grier Studies – and you will enroll. Statuesque and fearless, Grier ruffled feathers even during an era when women onscreen and off were getting louder: Her character goes beyond vengeance into viciousness, and the take-no-shit power of it all is intoxicating. Grier's creation still puts men on notice, as they should be.Joshua Rothkopf

Female Trouble
Film, Comedy

Female Trouble (1974)

John Waters may be known as trash-cinema royalty but there's a surprising layer of feminist empathy in his work, hidden under all the dark humor. ‘Female Trouble’ places Divine at the center of a truly epic criminal tale, Charles Manson-inflected and unhinged, one that subverts stereotypes and aligns our sympathies with the fabulously brazen drag icon.Abbey Bender

One Sings, the Other Doesn’t

One Sings, the Other Doesn’t (1977)

This deeper Agnès Varda cut may feel a little dog-eared and dated (the sporadic French folk tunes will induce cold sweats in the unwary), but as a no-bullshit drama about reproductive rights and a pure-hearted torch song to female friendship and solidarity, it remains as current as any of the great French director’s films.Phil de Semlyen

Film, Drama

The Passion Of Joan Of Arc (1928)

Watch Carl Theodor Dreyer's silent masterwork – which is haunted by the boundlessly expressive face of Maria Falconetti in the role of the legendary French warrior and saint – and you'll detect traces of countless others who sat in that unsympathetic chair of cruel male tormentors, designed to intimidate women into fear and silence. Feminist acting starts here.Tomris Laffly

Born in Flames
Film, Comedy

Born In Flames (1983)

A slice of sci-fi feminism with a punk spirit and an electro soundtrack, Michigan maverick Lizzie Borden’s docu-dystopia has nothing even slightly staid or conventional about it. ‘Born in Flames’ is set ten years after the Second American Revolution in a New York where women are striving for the same rights as men and are led by a militant army trying to seize them. Borden herself continues to champion it as a call to arms for millennials. The fire still burns.Phil de Semlyen

Erin Brockovich, best Oscar-winning Netflix films

Erin Brockovich (2000)

A mainstream feminist movie is arguably more important than an indie: It reaches larger audiences and isn't necessarily preaching to the converted. So all hail the Oscar-winning ‘Erin Brockovich’, which tells its inspiring story of corporate comeuppance with a smile as big as that of star Julia Roberts.Anna Smith

Meshes of the Afternoon
Courtesy BFI

Meshes of the Afternoon (1943)

This mesmerising experimental short explored female identity at a time when most avant-garde artists concerned themselves with the oh-so-bruised male psyche. Rich in symbolism, it was written by Maya Deren, who co-directed it with Alexander Hammid. As if unable to conceive of a female director, several commentators at the time opined that Hammid did all the heavy lifting.Anna Smith

Film, Science fiction

Aliens (1986)

Following in the female-powered footsteps of its 1979 predecessor, James Cameron's ‘Alien’ sequel deepens the inner life of its sole survivor, Ripley (Sigourney Weaver), by adding a maternal dimension to her workload. As iconic as the first film's chestburster scene, Ripley's fearless stride in battle (‘Get away from her, you bitch!’) is a feminist gift to sci-fi.Tomris Laffly

My Brilliant Career
Photograph: Nsw Film Corp/Kobal/REX/Shutterstock

My Brilliant Career (1979)

In Gillian Armstrong's brainy adaptation of Miles Franklin's 1901 novel, the aspiring writer Sybylla Melvyn (Judy Davis) stubbornly resists the traditional demands of family, turns down eligible suitors and chases grand professional ambitions. Hardened by her non-negotiable life goals, she sketches a roadmap to autonomy, setting an enduring example.Tomris Laffly

The Circle

The Circle (2000)

Jafar Panahi's harrowing drama critiques Iran's punishing treatment of women, both inside its prison system and out. A deeply political statement on entrenched societal sexism, it observes through scenes that are both explicit and understated the everyday fight of a group of unrelated co-protagonists, defying their burden-from-birth status in patriarchal eyes.Tomris Laffly

Film, Drama

Bound (1996)

Most erotic thrillers can't in good faith be called feminist but the Wachowskis’ sharp, stylised debut is that rare exception. Gina Gershon and Jennifer Tilly are butch and femme, respectively, and they don't play to the male gaze: These women are destined to come out on top, with no one else in sight.Abbey Bender

Working Girl
Photograph: Courtesy Working Girl
Film, Comedy

Working Girl (1988)

At once funny and surprisingly poignant, ‘Working Girl’ offers a big-haired, yet forever relevant portrait of the struggle for women to get ahead professionally. The image of Melanie Griffith changing from sneakers to heels in the office is a perfect pop symbol of gender and power in the Reagan era.Abbey Bender

Kill Bill: Vol. 1
Film, Action and adventure

Kill Bill (2003/2004)

The ‘badass’ descriptor is overused when it comes to portrayals of powerful women onscreen, but as the Bride, a former assassin hell-bent on vengeance, Uma Thurman truly earns it. With her steely gaze, yellow tracksuit and expert fighting ability, the Bride is an icon of ultra-cool hard-edged femininity. Even in the wake of Quentin Tarantino's recently revealed on-set negligence and Harvey Weinstein's abhorrent abuses, it remains an influential, widely successful woman-centered action film. They’re all too rare in Hollywood.Abbey Bender

All About My Mother

All About My Mother (1999)

Gloriously strong, complex women feature in all the movies of Pedro Almodóvar. ‘All About My Mother’ has more of them than most, and none of the characters come close to stereotype (can you think of another film with an HIV-positive nun who's pregnant by a transgender prostitute?). It's a warm, witty celebration of female survival skills.Anna Smith

Jessica Chastain in Zero Dark Thirty
Film, Action and adventure

Zero Dark Thirty (2012)

A female character without romantic interests who's focused on her career? What's that? By giving ‘Maya’ (Jessica Chastain), the CIA agent chiefly responsible for tracking down Osama bin Laden, her onscreen due (the real operative is still undercover), genius director Kathryn Bigelow brought a historic achievement out of the shadows of a male-dominated field. It was controversial at the time; it shouldn’t have been.Tomris Laffly

Alice Doesn't Live Here Anymore
Film, Drama

Alice Doesn't Live Here Anymore (1974)

The New Hollywood era is filled with machismo, but this subtle film from Martin Scorsese stands out from his early work due to its sensitive portrait of a single mother and widow, brought to nonjudgmental life by Ellen Burstyn. Alice's road trip with her son is filled with frustrations and small victories – it's a clear-eyed vision of one woman's life.Abbey Bender

All About Eve

All About Eve (1950)

Joseph L. Mankiewicz's monumental showbiz drama sharply examines sexism in a plot that probes generational enmity among women. With brutal honesty in her infinitely quotable scenes, stage legend Margo Channing (Bette Davis) mourns the sacrifices required by a career in which her male colleagues never seem to age: ‘Bill's 32. He looks 32. He looked it five years ago. He'll look it 20 years from now. I hate men.’Tomris Laffly

9 to 5
Photograph: 20th Century Fox/Kobal/REX/Shutterstock
Film, Comedy

9 to 5 (1980)

The tragedy of ‘9 to 5’ is that its feminist message about equal pay, sexual harassment and male privilege is still valid today. The joy of it? Everyone's have an insane amount of fun making a serious point. Jane Fonda, Lily Tomlin and Dolly Parton (belting out that anthemic theme song, still widely karaoked) are brimming with righteous fizz.Anna Smith

Norma Rae
Film, Comedy

Norma Rae (1979)

Fierce and unapologetic, the hardheaded and sexually liberated Norma (Sally Field, who Oscar voters really, really liked) unionises the mistreated workers of her North Carolina textile mill, silencing its machines with a now-iconic sign. Inspired by a true story, Martin Ritt's film progressively treats Norma's male counterpart, a labour organiser from New York (Ron Leibman), as her ideological equal as opposed to a romantic savior.Tomris Laffly

The Hunger Games, best movies on Netflix
Film, Fantasy

The Hunger Games (2012)

For years, the dinosaurs that roamed Hollywood’s back rooms told us that female-led action movies didn't sell. Then along came Katniss Everdeen, exploding that lie once and for all. Bow and arrow at the ready (whether the odds were in her favor or not), Jennifer Lawrence showed us that girls could disrupt the paradigm in a sci-fi context and audiences would pay to see it, hand over fist.Cath Clarke


The Women (1939)

Featuring a radiant cast of exclusively women (over 130 speaking parts), ‘The Women’ and its gossiping femmes – all preoccupied with man troubles – doesn't scream feminist. Yet director George Cukor's witty, quietly radical satire is thoroughly sympathetic to female-specific dilemmas concerning financial inequality and power imbalance, normalised at the time.Tomris Laffly

The Kids Are Alright.jpg
Film, Comedy

The Kids Are All Right (2010)

Historically, lesbians had been treated in a sensationalist way by Hollywood (if they were treated at all), so this understated, beautifully acted drama was a welcome corrective. Annette Bening and Julianne Moore are perfect as two imperfect women in love, trying to raise two smart teens while defending their decades-long love affair against temptation, complacency and conflict.Helen O'Hara

Film, Comedy

Daisies (1966)

Czech New Wave director Věra Chytilová's gleefully anarchic film centers on two young pranksters (Jitka Cerhová and Ivana Karbanová) who cause mischief rather than succumb to political oppression. The spectacle is at once a delight and a provocation: ‘Daisies’ is downright punk in its approach, and the message of colorful rebellion rings truer than ever today.Abbey Bender

films for planning halloween costume, carrie
Film, Horror

Carrie (1976)

Stephen King's intuitive understanding of the terrors of early womanhood (it's a bloodbath) found ideal expression in Brian De Palma's horror classic – a gruesome tale of high-school vengeance. Carrie's telekinetic powers cast a timeless spell on audiences, especially those bullied and oppressed by their own families and communities. Cool kids are pretty mean.Tomris Laffly

Film, Comedy

Clueless (1995)

Writer-director Amy Heckerling created one of the most delightful teen movies of all time with this update of Jane Austen's ‘Emma’. The film embraces female friendships and fun fashion wholeheartedly, and Cher Horowitz (Alicia Silverstone, immortal for this performance) is more than just a bratty rich girl. The script imbues her with genuine sweetness and wit.Abbey Bender

Film, Drama

Winter’s Bone (2010)

Before she became world-famous as Katniss Everdeen, Jennifer Lawrence was an unknown 19-year-old from Kentucky. She got her big break in this bleak thriller set in the Ozark Mountains as the tough, resourceful Ree Dolly, searching for her missing dad while negotiating an unpredictable terrain of desperate poverty, sexual leers and worse.Cath Clarke

Bend It Like Beckham
Film, Comedy

Bend It Like Beckham (2002)

Director Gurinder Chadha's crowd-pleaser is a feminist take on the traditionally masculine genre of the sports movie. With its light sense of humor and cross-cultural savvy, the film is a touchstone of girl power and a reminder of the unifying bonds of team play. World, meet Keira Knightley.Abbey Bender

Sandra Bullock, Gravity
Film, Science fiction

Gravity (2013)

The Mercury-era myth of the superhuman, buzz-cut male astronaut still lingers, making it difficult for us to believe they might have struggled in any way. Enter Sandra Bullock's Ryan Stone, the hastily trained, hesitant specialist who finds herself facing down orbital disaster and her own grief to survive in space. It's proof that fresh casting makes for better stories.Helen O'Hara

Terminator 2
Film, Science fiction

Terminator 2: Judgment Day (1991)

Ripped, gun-toting and furious, Sarah Connor (Linda Hamilton) is the spooked, future-aware soul of James Cameron's relentless sequel; she's an aspirational and atypical female image. Packing muscles and resourcefulness, Sarah battles skeptics and an invincible android to protect her son and the fate of the planet. Arnold Schwarzenegger says ‘I'll be back’ in the first movie, but she's the one we were waiting for.Tomris Laffly

Film, Horror

The Babadook (2014)

Jennifer Kent's extraordinary directorial debut is unusual for grounding its monster in the idea of motherhood itself. The story of the bereaved, exhausted Amelia (Essie Davis) and her terrified young son (Noah Wiseman) is ultimately about the fear of failing as a parent and – the ultimate horror – perhaps willfully harming your own child, making a taboo subject vivid and real.Helen O'Hara

Romantic movie: Show Me Love

Show Me Love (1998)

Sweden's Lukas Moodysson has thus far made it a career project to celebrate the inner strength of women, from his harrowing ‘Lilya 4-Ever’ to the euphoric punk-girl riot ‘We Are the Best!’ But his feature debut is still his sweetest and most supportive film. ‘Show Me Love’ is about two confused high-school girls who fall in love; their public coming out is as rousing as endings get.Joshua Rothkopf

Best Studio Ghibli films: Princess Mononoke
Film, Animation

Princess Mononoke (1997)

Animator Hayao Miyazaki has spun his greatest successes around female protagonists, from the plucky Chihiro in ‘Spirited Away’ to the powerful Sophie in ‘Howl's Moving Castle’. But none of them are as fierce or passionate as this film's San, the wolf-riding heroine who fights to protect the natural world from the destruction of encroaching humanity (i.e., men).Helen O'Hara

The Trouble with Angels
Photograph: Moviestore/REX/Shutterstock

The Trouble with Angels (1966)

Set in a safe space where men are almost entirely absent, Ida Lupino's late-career coming-of-age comedy lovingly spreads its protective wings over two mischievous wisecrackers at an all-girls Catholic high school (Hayley Mills and June Harding), as each independently discovers her own purpose. It's hard to imagine a ‘Lady Bird’ without it.Tomris Laffly

Heavenly Creatures

Heavenly Creatures (1994)

Years before ‘The Lord of the Rings’ made him a household name, Peter Jackson broke through with this fantasy-infused drama, rooted in the intensely passionate friendships of teenage life. Admittedly, few such bonds are as toxic as that between Melanie Lynskey's Pauline and Kate Winslet's Juliet, based on a real-life duo that committed murder, but the build-up of shared experience, giggling fantasy and mutual need is a familiar female experience.Helen O'Hara

3 Women

3 Women (1977)

Robert Altman's riff on Ingmar Bergman's ‘Persona’ is a dreamlike, pastel-drenched study of feminine subjectivity. Grasps on reality weaken as we are submerged into a strangely compelling California desert town. Shelley Duvall and Sissy Spacek give performances of considerable depth, both laying bare the insecurities so often at the heart of womanhood.Abbey Bender

Dance, Girl, Dance
Film, Comedy

Dance, Girl, Dance (1940)

Long before the term male gaze was coined, Dorothy Arzner ­­­– Hollywood's only working female director of the 1930s – gave us this headstrong ballerina drama about Judy (Maureen O'Hara), who shames an auditorium of catcallers in a profound monologue. Arzner's musical honors hardworking women as allies and rivals alike, and respects their individual dreams.Tomris Laffly

Walking and Talking
Film, Comedy

Walking and Talking (1996)

Nicole Holofcener's feature debut, about the neurotic affection between two longtime Manhattan friends (Catherine Keener and Anne Heche, both effortlessly believable) proved her talent for writing smart, complex women. The tale itself you've seen before – dating, men, marriage, tension – but Holofcener's nuanced perspective is filled with wry humor and a focus on the real textures of women's interactions.Abbey Bender

Shut Up and Sing
Film, Documentaries

Shut Up & Sing (2006)

At a 2003 concert in London, the Dixie Chicks spoke out against George W. Bush (lead singer Natalie Maines: ‘We don't want this war, this violence, and we're ashamed that the President of the United States is from Texas’) and found themselves vilified by many of their fans, some who issued anonymous death threats. This documentary charts the band's mutual support, endurance and comeback with all its messiness and upheaval. The sisterhood is inspiring.Helen O'Hara

Film, Animation

Frozen (2013)

You think you know how this animated musical is going to end: a curse that can only be broken by true love. And there's a handsome prince too, right? Wrong. This plot's most important connection is between sisters, because princes are unreliable. It's a welcome corrective to, well, pretty much every Disney film that came before it. To those movies, ‘Frozen’ would say: Let it go.Helen O'Hara

A Question of Silence

A Question of Silence (1982)

What if alliances of ill-treated women lashed out against male supremacy? Infused with dark humor, Dutch writer-director Marleen Gorris's provocative stunner imagines one such scenario, in which three female strangers – a mom, a high-powered secretary and a waitress – all sane and unprovoked, fatally go to town on a shopkeeper. The three women elect to go silent in court, letting their act stand symbolically.Tomris Laffly

Film, Drama

Mustang (2015)

Both a reflective dramatic plunge and a dreamlike liberation fantasy, director Deniz Gamze Ergüven's Oscar-nominated film topples the Turkish patriarchy with its story of five female siblings standing up wild and tall against adult abusers and old-fashioned traditions. Universally relatable, ‘Mustang’ exposes the hidden-from-sight horrors of too many male conservatives.Tomris Laffly

Friday 6--Thursday 12
Photograph: Courtesy Gentlemen Prefer Blondes
Film, Comedy

Gentlemen Prefer Blondes (1953)

A movie about a gold-digging feminist? Yes, please. As Marilyn Monroe's Lorelei Lee neatly illustrates via ‘Diamonds Are a Girl's Best Friend’, gold digging is a feature of the patriarchy, not a bug. Besides, who's watching the men anyhow? Lorelei's brassy friendship with Dorothy Shaw (Jane Russell) is the most important love story onscreen.Helen O'Hara

The Gold Diggers
Film, Drama

The Gold Diggers (1983)

Director Sally Potter's radical black-and-white feature debut was made with an all-female crew, which immediately earns it major feminist points – especially back in 1983. Julie Christie and Colette Laffont are terrific in this surreal, thought-provoking experiment with plenty to say about the commodification of women.Anna Smith

Wonder Woman
Film, Action and adventure

Wonder Woman (2017)

After too many blockbusters starring white guys called Chris, what a relief it was see a big, bold superhero movie starring a woman (the instantly iconic Gal Gadot). But it wasn't just the novelty: In Patty Jenkins' telling, Wonder Woman stands for warmer virtues than her male counterparts, things like compassion and forgiveness, lending her roundhouse kicks an extra emotional heft.Helen O'Hara

My Life to Live

My Life to Live (1962)

Jean-Luc Godard's most sensitive film, ‘My Life to Live’ observes with a quiet sense of realism the doomed life of a prostitute (played by the director's muse, Anna Karina). The close-up on Nana's tear-streaked face as she watches ‘The Passion of Joan of Arc’ in a state of rapture is a stirring early example of the female gaze.Abbey Bender

Film, Drama

Safe (1995)

Todd Haynes plunges into the darkest corners of a suburban L.A. housewife's psychology in this unforgettably eerie tale of ‘environmental illness’. The film offers no easy solutions to the tragedy of feeling inexplicably broken, but it gives its protagonist (an excellent Julianne Moore) time and space rather than writing her off as hysterical.Abbey Bender

Audition (1999)

Audition (1999)

A movie that makes sushi out of douchebag predators and the whole notion of Japanese female docility, Takeshi Miike's gauntlet of a horror film (difficult even for gore fans) is comeuppance at its most savage. After a pair of bros decide to stage auditions for a fake movie, they discover Asami (the spooky Eihi Shiina), who brings needles and razor wire to a subsequent date.Joshua Rothkopf

Les Parapluies de Cherbourg
Film, Drama

The Umbrellas of Cherbourg (1964)

Catherine Deneuve’s crimes against feminism are sadly well-documented (most recently she signed a letter criticizing the #MeToo campaign), but in Jacques Demy’s sweet, sad musical playing a pregnant teenager, her character makes some tough-headed decisions about marriage and love.Cath Clarke

Film, Drama

Girlhood (2014)

We've had countless movies about the lives of teenage boys growing up in rough neighborhoods. What about their sisters? The young French filmmaker Céline Sciamma’s judgment-free drama is the story of 16-year-old Marieme (Karidja Touré) living in the exurban Paris projects. She falls in with a denim-clad girl gang and is empowered by her new friendships (along with Rihanna's ‘Diamonds’, in the film's most euphoric moment).Cath Clarke