bruce-lee-stories

Yuri’s Welcome to the Madness v. the 90s

One of the major themes of Yuri on Ice as a show is the great potential that lies in figure skating as a means of self expression. Yuri’s Welcome to the Madness program is a wonderful example of the theme, serving as a furious and brash contrast to Yuuri and Victor’s more sedate and gracious Stammi Vicino that shows the truly large range of expression possible through figure skating.

However, I watched the whole thing with my jaw open because on a meta-textual level Welcome to the Madness is also a hilarious lampoon of the hyper-masculinity movement within figure skating of the late 80s and 90s.

Context: For reasons too complicated to get into: post-World War II, figure skating would be largely perceived as a feminine sport, women athletes were and still are more widely celebrated than their male counterparts in terms of recognition. In the past half a century figure skating has tried a number of time to “re-brand” itself in order that male figure skaters would not be emasculated for participating in the sport.

All this to say, that in the late 80s and 90s, male figure skating would make a particularly memorable push to disassociate itself with its feminine reputation, a strategy of emphasizing the masculinity and ‘macho-ness’ of individual skaters almost cartoonishly in commentary and promotional material. The most prominent examples would probably be Kurt Browning and Elvis Stojko.

Kurt Browning is four time World Champion and first skater ever to complete a quadruple jump in competition. He also came from rural Canada and was the son of a cowboy, a fact that has little to do with skating yet is impossible to escape from if you research him at all because it gets mentioned constantly. You can tell he’s a masculine heart throb because even his wikipedia picture has him wearing tight leather pants and looking slightly uncomfortable about it.

Elvis Stojko is a three time World Champion and two time silver Olympic medalist he is also the first skater to land a quad jump combination. He’s also a total dork who skated to the soundtrack of Dragon: The Bruce Lee Story during the Olympics because he’s a martial artist too! (it’s delightful, the commentators salivating how ‘epic’ the soundtrack to a Bruce Lee biopic is also wonderful)

It’s really apparent when listening to commentators or reading the promotional material surrounding these skaters that their identities as ATHLETES and STRAIGHT were basically shoved into your face as much as possible.

So, the distinction between ‘effeminate’ or ‘masculine’ skating had little to do with the skating itself and everything to do with arbitrary codifiers like an interest in more stereotypically masculine recreation activities or music choices leading to a radically different perception and marketing of the athletes within the media. Just listen to the commentators, like this skate where the commentator felt the need to start mooning about how Elvis is “so tough, physically and mentally.”

It’s worth remembering that the AIDs epidemic was going on at the same time and that the figure skating community’s reaction to the tragedy was mixed and complicated, especially when some were pushing for recognition for the fact that this disease was hitting the figure skater world particularly hard and others were doing everything they were to deny the idea that figure skating community was suffering from the impact of AIDs more than other sports.

I bring this all up in relation to Yuri and Welcome to the Madness because rock music and wearing tight leather pants was basically the epitome of what was pushed as the masculine ideal during the 90s in male figure skating.

(This is Elvis Stojko from an ice show recently because I couldn’t find any earlier pictures of him being a leather wearing bad boy, but it was a thing)

So here we have Yuri wearing everything that superficially would mark him as one of those skaters, and then he lowers his sunglasses and is actually wearing eye makeup and proceeds to tear the entire dichotomy down.

This is actually kind of a culmination of Yuri’s journey as an artist, since here he’s performing what on the surface is the anti-thesis of what traditional artistic skating is, there’s no ballerina here! He’s wearing LEATHER PANTS and SUNGLASSES and skating to ROCK MUSIC, yet as he skates he uses movements that are sexy in ways that alternate between traditionally masculine and feminine ideas of sexiness.

For example Stojko in his Van Halen routine also includes a dramatic slide at the end, but Yuri’s slide is pure Johnny Weir, whose own career suffered because his skating didn’t fit the mold of how a male figure skater should present and move their body.

I know that someone on the Yuri on Ice staff mentioned that they were inspired to have Yuri put together his own gala in a night because they heard of Misha Ge doing so, but many of the skates seem so carefully designed to transgress what it traditionally thought of as acceptable for male skaters in search of more fuller self expression through their sport and art that Yuri adhering to all the superficial codifiers of the 90s NO HOMO male figure skating while simultaneously getting his glove removed by the teeth of his male best friend strikes me as not entirely coincidental.

Jesse Glover, Seattle, WA (1935-2012) was Bruce Lee’s first student and first assistant instructor in the US. They met in 1959, as they both attended Edison Technical College and was the one who first taught Lee judo. He studied psychology and was a champion Judoka. The character Jerome Sprout in the film Dragon: The Bruce Lee Story was based on him. He was the first authorized martial arts instructor to be trained by Bruce Lee and developed his own method which he calls Non Classical Gung Fu.

Movie Quote of the Day is FIVE YEARS OLD today! Below is all of the Movie Quote of the Day posts from June 30th, 2014 thru today, but you can see all 1,799 movies/quotes here.

  • Three Men and a Baby, 1987 (dir. Leonard Nimoy)
  • Hush…Hush, Sweet Charlotte, 1964 (dir. Robert Aldrich)
  • The Canyons, 2013 (dir. Paul Schrader)
  • A Little Bit of Heaven, 2012 (dir. Nicole Kassell)
  • Rocky IV, 1985 (dir. Sylvester Stallone)
  • Killer Joe, 2012 (dir. William Friedkin)
  • Reaching For The Moon, 2013 (dir. Bruno Barreto)
  • We Bought a Zoo, 2011 (dir. Cameron Crowe)
  • The Grifters, 1990 (dir. Stephen Frears)
  • Splash, 1984 (dir. Ron Howard)
  • 12 Years A Slave, 2013 (dir. Steve McQueen)
  • The Station Agent, 2003 (dir. Thomas McCarthy)
  • Point Break, 1991 (dir. Kathryn Bigelow)
  • Clear and Present Danger, 1994 (dir. Phillip Noyce)
  • The Bad News Bears, 1976 (dir. Michael Ritchie)
  • Dazed and Confused, 1993 (dir. Richard Linklater)
  • Ladies They Talk About, 1933 (dir. Howard Bretherton, William Keighley)
  • 2046, 2004 (dir. Wong Kar-Wai)
  • Riddick, 2013 (dir. David Twohy)
  • Julia, 1977 (dir. Fred Zinnemann)
  • The Americanization of Emily, 1964 (dir. Arthur Hiller)
  • Hook, 1991 (dir. Steven Spielberg)
  • Affliction, 1997 (dir. Paul Schrader)
  • Dogfight, 1991 (dir. Nancy Savoca)
  • Drugstore Cowboy, 1989 (dir. Gus Van Sant)
  • Dunston Checks In, 1996 (dir. Ken Kwapis)
  • The Expendables 2, 2012 (dir. Simon West)
  • The Lucky One, 2012 (dir. Scott Hicks)
  • The Avengers, 2012 (dir. Joss Whedon)
  • Brassed Off, 1996 (dir. Mark Herman)
  • School of Rock, 2003 (dir. Richard Linklater)
  • The Recruit, 2003 (dir. Roger Donaldson)
  • Revolutionary Road, 2008 (dir. Sam Mendes)
  • Picture Perfect, 1997 (dir. Glenn Gordon Caron)
  • Into the Night, 1985 (dir. John Landis)
  • All the Pretty Horses, 2000 (dir. Billy Bob Thornton)
  • Albert Nobbs, 2011 (dir. Rodrigo García)
  • Signs, 2002 (dir. M. Night Shyamalan)
  • Knock On Any Door, 1949 (dir. Nicholas Ray)
  • Merrily We Go To Hell, 1932 (dir. Dorothy Arzner)
  • Pitch Perfect, 2012 (dir. Jason Moore)
  • Inland Empire, 2006 (dir. David Lynch)
  • The Help, 2011 (dir. Tate Taylor)
  • Patch Adams, 1998 (dir. Tom Shadyac)
  • Foreign Correspondent, 1940 (dir. Alfred Hitchcock)
  • In weiter Ferne, so nah! (Faraway, So Close!), 1993 (dir. Wim Wenders)
  • Gone Baby Gone, 2007 (dir. Ben Affleck)
  • Devil in a Blue Dress, 1995 (dir. Carl Franklin)
  • Predator, 1987 (dir. John McTiernan)
  • Indecent Proposal, 1993 (dir. Adrian Lyne)
  • Get Over It, 2001 (dir. Tommy O’Haver)
  • Miss Pettigrew Lives for a Day, 2008 (dir. Bharat Nalluri)
  • Starlet, 2012 (dir. Sean Baker)
  • The Turning Point, 1977 (dir. Herbert Ross)
  • Humoresque, 1946 (dir. Jean Negulesco)
  • The Rebound, 2009 (dir. Bart Freundlich)
  • Seance on a Wet Afternoon, 1964 (dir. Bryan Forbes)
  • Panic Room, 2002 (dir. David Fincher)
  • Glengarry Glen Ross, 1992 (dir. James Foley)
  • Beyond Borders, 2003 (dir. Martin Campbell)
  • Night of the Comet, 1984 (dir. Thom Eberhardt)
  • The Steel Trap, 1952 (dir. Andrew L. Stone)
  • 28 Days, 2000 (dir. Betty Thomas)
  • The Presidio, 1988 (dir. Peter Hyams)
  • Bound For Glory, 1976 (dir. Hal Ashby)
  • 3 Women, 1977 (dir. Robert Altman)
  • Johnny Suede, 1991 (dir. Tom DiCillo)
  • Rounders, 1998 (dir. John Dahl)
  • Female, 1933 (dir. Michael Curtiz, William Dieterle, William A. Wellman)
  • Soapdish, 1991 (dir. Michael Hoffman)
  • I Love You, Alice B. Toklas!, 1968 (dir. Hy Averback)
  • Dragon: The Bruce Lee Story, 1993 (dir. Rob Cohen)
  • The King’s Speech, 2010 (dir. Tom Hooper)
  • Carrie, 1976 (dir. Brian De Palma)
  • To The Wonder, 2013 (dir. Terrence Malick)
  • Something New, 2006 (dir. Sanaa Hamri)
  • Sirens, 1993 (dir. John Duigan)
  • Coal Miner’s Daughter, 1980 (dir. Michael Apted)
  • Flubber, 1997 (dir. Les Mayfield)
  • Days of Thunder, 1990 (dir. Tony Scott)
  • Walking and Talking, 1996 (dir. Nicole Holofcener)
  • The Ghost and Mrs. Muir, 1947 (dir. Joseph L. Mankiewicz)
  • The Firm, 1993 (dir. Sydney Pollack)
  • One Day, 2011 (dir. Lone Scherfig)
  • View From The Top, 2003 (dir. Bruno Barreto)
  • Phantoms, 1998 (dir. Joe Chappelle)
  • Little Black Book, 2004 (dir. Nick Hurran)
  • Serious Moonlight, 2009 (dir. Cheryl Hines)
  • Dead Man Walking, 1995 (dir. Tim Robbins)
  • The Awakening, 2011 (dir. Nick Murphy)
  • Robot & Frank, 2012 (dir. Jake Schreier)
  • Dante’s Peak, 1997 (dir. Roger Donaldson)
  • Brokedown Palace, 1999 (dir. Jonathan Kaplan)
  • Love & Basketball, 2000 (dir. Gina Prince-Bythewood)
  • The Black Cat, 1934 (dir. Edgar G. Ulmer)
  • Hammett, 1982 (dir. Wim Wenders)
  • The Hours, 2002 (dir. Stephen Daldry)
  • My Demon Lover, 1987 (dir. Charlie Loventhal)
  • Re-Animator, 1985 (dir. Stuart Gordon)
  • School Ties, 1992 (dir. Robert Mandel)
  • I Walked With A Zombie, 1943 (dir. Jacques Tourneur)
  • Sneakers, 1992 (dir. Phil Alden Robinson)
  • Black Christmas, 1974 (dir. Bob Clark)
  • The Prophecy, 1995 (dir. Gregory Widen)
  • Witchboard, 1986 (dir. Kevin Tenney)
  • Mystic Pizza, 1988 (dir. Donald Petrie)
  • Bridget Jones: The Edge of Reason, 2004 (dir. Beeban Kidron)
  • Sleepless in Seattle, 1993 (dir. Nora Ephron)
  • Enough Said, 2013 (dir. Nicole Holofcener)
  • Hachi: A Dog’s Tale, 2009 (dir. Lasse Hallström)
  • Kiss the Girls, 1997 (dir. Gary Fleder)
  • Beethoven, 1992 (dir. Brian Levant)
  • Along Came A Spider, 2001 (dir. Lee Tamahori)
  • Scream 2, 1997 (dir. Wes Craven)
  • Night of the Creeps, 1986 (dir. Fred Dekker)
  • The Ninth Gate, 1999 (dir. Roman Polanski)
  • My Week With Marilyn, 2011 (dir. Simon Curtis)
  • Bed of Roses,1996 (dir. Michael Goldenberg)
  • The Englishman Who Went Up a Hill But Came Down a Mountain, 1995 (dir. Christopher Monger)
  • The Yards, 2000 (dir. James Gray)
  • The Last Temptation of Christ, 1988 (dir. Martin Scorsese)
  • Vi är bäst! (We Are the Best! ), 2014 (dir. Lukas Moodysson)
  • Suspiria, 1977 (dir. Dario Argento)
  • Hellraiser, 1987 (dir. Clive Barker)
  • He Walked by Night, 1948 (dir. Alfred L. Werker)
  • This Woman is Dangerous, 1952 (dir. Felix E. Feist)
  • T-Men, 1947 (dir. Anthony Mann)
  • Act of Violence, 1948 (dir. Fred Zinnemann)
  • The Strange Love of Martha Ivers, 1946 (dir. Lewis Milestone)
  • The Red House, 1947 (dir. Delmer Daves)
  • This Gun for Hire,1942 (dir. Frank Tuttle)
  • The Dark Corner, 1946 (dir. Henry Hathaway)
  • Behind Locked Doors, 1948 (dir. Budd Boetticher)
  • Among the Living, 1941 (dir. Stuart Heisler)
  • Framed, 1947 (dir. Richard Wallace)
  • The Second Woman, 1950 (dir. James V. Kern)
  • Southside 1-1000, 1950 (dir. Boris Ingster)
  • His Kind of Woman, 1951 (dir. John Farrow)
  • Destination Murder, 1950 (dir. Edward L. Cahn)
  • Lust For Gold, 1949 (dir. S. Sylvan Simon)
  • Two Smart People, 1946 (dir. Jules Dassin)
  • Cause for Alarm!, 1951 (dir. Tay Garnett)
  • Woman on the Run, 1950 (dir. Norman Foster)
  • The Woman on Pier 13, 1949 (dir. Robert Stevenson)
  • While The City Sleeps, 1956 (dir. Fritz Lang)
  • I Wake Up Screaming, 1941(dir. H. Bruce Humberstone)
  • The Turning Point, 1952 (dir. William Dieterle)
  • Dark City, 1950 (dir. William Dieterle)
  • Crime Against Joe, 1956 (dir. Lee Sholem)
  • Witness to Murder, 1954 (dir. Roy Rowland)
  • Thieves’ Highway, 1949 (dir. Jules Dassin)
  • The Dark Mirror, 1946 (dir. Robert Siodmak)
  • Pitfall, 1948 (dir. André De Toth)
  • I, The Jury, 1953 (dir. Harry Essex)
  • Scoop, 2006 (dir. Woody Allen)
  • The Preacher’s Wife, 1996 (dir. Penny Marshall)
  • Reindeer Games, 2000 (dir. John Frankenheimer)
  • Evening, 2007 (dir. Lajos Koltai)
  • The Ghost and the Darkness, 1996 (dir. Stephen Hopkins)
  • La Vénus à la fourrure (Venus in Fur), 2014 (dir. Roman Polanski)
  • Flannel Pajamas, 2006 (dir. Jeff Lipsky)
  • What Women Want, 2000 (dir. Nancy Meyers)
  • Shadow of the Vampire, 2000 (dir. E. Elias Merhige)
  • Nell, 1994 (dir. Michael Apted)
  • An Ideal Husband, 1999 (dir. Oliver Parker)
  • The Wolf of Wall Street, 2013 (dir. Martin Scorsese)
  • Monkey Business, 1952 (dir. Howard Hawks)
  • Le week-end, 2014 (dir. Roger Michell)
  • Cold Mountain, 2003 (dir. Anthony Minghella)
  • Legends of the Fall, 1994 (dir. Edward Zwick)
  • Where the Wild Things Are, 2009 (dir. Spike Jonze)
  • Starstruck, 1982 (dir. Gillian Armstrong)
  • Flashdance, 1983 (dir. Adrian Lyne)
  • Romancing the Stone, 1984 (dir. Robert Zemeckis)
  • The Immigrant, 2014 (dir. James Gray)
  • The One I Love, 2014 (dir. Charlie McDowell)
  • Snowpiercer, 2014 (dir. Joon-ho Bong)
  • The Bells of St. Mary’s, 1945 (dir. Leo McCarey)
  • There’s No Business Like Show Business, 1954 (dir. Walter Lang)
  • Seven Years in Tibet, 1997 (dir. Jean-Jacques Annaud)
  • Murder with Pictures, 1936 (dir. Charles Barton)
  • Alfie, 2004 (dir. Charles Shyer)
  • The Good Earth, 1937 (dir. Sidney Franklin)
  • About Last Night, 2014 (dir. Steve Pink)
  • Obvious Child, 2014 (dir. Gillian Robespierre)
  • Mississippi Masala, 1991 (dir. Mira Nair)
  • Me and You and Everyone We Know, 2005 (dir. Miranda July)
  • I’ve Heard the Mermaids Singing, 1987 (dir. Patricia Rozema)
  • Your Sister’s Sister, 2012 (dir. Lynn Shelton
  • Variety, 1983 (dir. Bette Gordon)
  • In A World… , 2013 (dir. Lake Bell)
  • Efter brylluppet (After The Wedding), 2006 (dir. Susanne Bier)
  • The Guilt Trip, 2012 (dir. Anne Fletcher)
  • The Lifeguard, 2013 (dir. Liz W. Garcia)
  • Desert Hearts, 1986 (dir. Donna Deitch)
  • Hanging Up, 2000 (dir. Diane Keaton)
  • Cristo Rey, 2013 (dir. Leticia Tonos)
  • I Will Follow, 2010 (dir. Ava DuVernay)
  • Belle, 2014 (dir. Amma Asante)
  • She-Devil, 1989 (dir. Susan Seidelman)
  • Fort Bliss, 2014 (dir. Claudia Myers)
  • Gas Food Lodging, 1992 (dir. Allison Anders)
  • Cookie, 1989 (dir. Susan Seidelman)
  • Boys Don’t Cry, 1999 (dir. Kimberly Peirce)
  • Musical Chairs, 2012 (dir. Susan Seidelman)
  • Jumpin’ Jack Flash, 1986 (dir. Penny Marshall)
  • Puccini for Beginners, 2006 (dir. Maria Maggenti)
  • Deep Impact, 1998 (dir. Mimi Leder)
  • Real Genius, 1985 (dir. Martha Coolidge)
  • The Notorious Bettie Page, 2005 (dir. Mary Harron)
  • Le goût des autres (The Taste of Others), 2000 (dir. Agnès Jaoui)
  • Viaggio sola (A Five Star Life), 2014 (dir. Maria Sole Tognazzi)
  • Whale Rider, 2002 (dir. Niki Caro)
  • Phat Girlz, 2006 (dir. Nnegest Likké)
  • Away from Her, 2006 (dir. Sarah Polley)
  • Fish Tank, 2009 (dir. Andrea Arnold)
  • Groundhog Day, 1993 (dir. Harold Ramis)
  • Frida, 2002 (dir. Julie Taymor)
  • My American Cousin, 1985 (dir. Sandy Wilson)
  • Ginger & Rosa, 2012 (dir. Sally Potter)
  • The Dish & the Spoon, 2011 (dir. Alison Bagnall)
  • Palo Alto, 2014 (dir. Gia Coppola)
  • Night Catches Us, 2010 (dir. Tanya Hamilton)
  • Kung Fu Panda 2, 2011 (dir. Jennifer Yuh)
  • Seeking a Friend for the End of the World, 2012 (dir. Lorene Scafaria)
  • Pariah, 2011 (dir. Dee Rees)
  • Vital Signs, 1990 (dir. Marisa Silver)
  • Now and Then, 1995 (dir. Lesli Linka Glatter)
  • Children of a Lesser God, 1986 (dir. Randa Haines)
  • Overnight, 2012 (dir. Valerie Breiman)
  • Just Another Girl on the I.R.T., 1993 (dir. Leslie Harris)
  • Nuit #1, 2011 (dir. Anne Émond)
  • Chilly Scenes of Winter, 1979 (dir. Joan Micklin Silver)
  • Frozen River, 2008 (dir. Courtney Hunt)
  • La hija natural, 2011 (dir. Leticia Tonos)
  • Black Sheep, 1996 (dir. Penelope Spheeris)
  • Impulse, 1990 (dir. Sondra Locke)
  • Daughters of the Dust, 1991 (dir. Julie Dash)
  • The Watermelon Woman, 1996 (dir. Cheryl Dunye)
  • Cairo Time, 2010 (dir. Ruba Nadda)
  • Monster, 2003 (dir. Patty Jenkins)
  • Girlfight, 2000 (dir. Karyn Kusama)
  • Beyond The Lights, 2014 (dir. Gina Prince-Bythewood)
  • Lords of Dogtown, 2005 (dir. Catherine Hardwicke)
  • Mansfield Park, 1999 (dir. Patricia Rozema)
  • Carolina, 2003 (dir. Marleen Gorris)
  • Los insólitos peces gato (The Amazing Catfish), 2014 (dir. Claudia Sainte-Luce)
  • And While We Were Here, 2012 (dir. Kat Coiro)
  • The Prince & Me, 2004 (dir. Martha Coolidge)
  • Johnny Dangerously, 1984 (dir. Amy Heckerling)
  • Sunshine Cleaning, 2009 (dir. Christine Jeffs)
  • Elles, 2012 (dir. Malgorzata Szumowska)
  • And Then There Was You, 2013 (dir. Leila Djansi)
  • La Pointe-Courte, 1955 (dir. Agnès Varda)
  • Mikey and Nicky, 1976 (dir. Elaine May)
  • Last Night, 2011 (dir. Massy Tadjedin)
  • Look Who’s Talking, 1989 (dir. Amy Heckerling)
  • Camilla, 1994 (dir. Deepa Mehta)
  • Ung flukt, 1959 (dir. Edith Carlmar)
  • The Punk Singer, 2013 (dir. Sini Anderson)
  • Entre Nos, 2009 (dir. Paola Mendoza & Gloria La Morte)
  • Arcadia, 2012 (dir. Olivia Silver)
  • Me Myself I, 2000 (dir. Pip Karmel)
  • Woo, 1998 (dir. Daisy von Scherler Mayer)
  • The Greatest, 2010 (dir. Shana Feste)
  • Unrelated, 2007 (dir. Joanna Hogg)
  • Wildflowers, 2000 (dir. Melissa Painter)
  • Happy End?!, 2014 (dir. Petra Clever)
  • Meek’s Cutoff, 2011 (dir. Kelly Reichardt)
  • The Iron Lady, 2011 (dir. Phyllida Lloyd)
  • The Proposal, 2009 (dir. Anne Fletcher)
  • Winter’s Bone, 2010 (dir. Debra Granik)
  • Doctor Dolittle, 1998 (dir. Betty Thomas)
  • Madeline, 1998 (dir. Daisy von Scherler Mayer)
  • Jennifer’s Body, 2009 (dir. Karyn Kusama)
  • Sugar & Spice, 2001 (dir. Francine McDougall)
  • Eve’s Bayou, 1997 (dir. Kasi Lemmons)
  • It Felt Like Love, 2014 (dir. Eliza Hittman)
  • L!fe Happens, 2012 (dir. Kat Coiro)
  • Bound, 1996 (dir. Lana & Andy Wachowski)
  • Life Partners, 2014 (dir. Susanna Fogel)
  • The Runaways, 2010 (dir. Floria Sigismondi)
  • The Riot Club, 2015 (dir. Lone Scherfig)
  • Lovely & Amazing, 2002 (dir. Nicole Holofcener)
  • The Jane Austen Book Club, 2007 (dir. Robin Swicord)
  • An Angel At My Table, 1990 (dir. Jane Campion)
  • The Sisterhood of Night, 2015 (dir. Caryn Waechter)
  • Aquamarine, 2006 (dir. Elizabeth Allen)
  • Me Without You, 2001 (dir. Sandra Goldbacher)
  • Monsoon Wedding, 2001 (dir. Mira Nair)
  • Renaissance Man, 1994 (dir. Penny Marshall)
  • Caprice, 1986 (dir. Joanna Hogg)
  • Post Grad, 2009 (dir. Vicky Jenson)
  • Look Who’s Talking Too, 1990 (dir. Amy Heckerling)
  • Austenland, 2013 (dir. Jerusha Hess)
  • Ride, 2015 (dir. Helen Hunt)
  • Afternoon Delight, 2013 (dir. Jill Soloway)
  • Grdzeli nateli dgeebi (In Bloom), 2013 (dir. Nana Ekvtimishvili & Simon Groß)
  • Lemale et ha’halal (Fill The Void), 2012 (dir. Rama Burshtein)
  • Herbie: Fully Loaded, 2005 (dir. Angela Robinson)
  • The Prize Winner of Defiance, Ohio, 2005 (dir. Jane Anderson)
  • Things We Lost in the Fire, 2007 (dir. Susanne Bier)
  • Elle s’en va, 2014 (dir. Emmanuelle Bercot)
  • The Babadook, 2014 (dir. Jennifer Kent)
  • Things Behind the Sun, 2001 (dir. Allison Anders)
  • Slums of Beverly Hills, 1998 (dir. Tamara Jenkins)
  • Peeples, 2013 (dir. Tina Gordon Chism)
  • The Secret Life of Bees, 2008 (dir. Gina Prince-Bythewood)
  • Jeg er din, 2013 (dir. Iram Haq)
  • The Pretty One, 2014 (dir. Jenée LaMarque)
  • Wuthering Heights, 2011 (dir. Andrea Arnold)
  • Fast Times at Ridgemont High, 1982 (dir. Amy Heckerling)
  • Laggies, 2014 (dir. Lynn Shelton)
  • Better Than Chocolate, 1999 (dir. Anne Wheeler)
  • Welcome to Me, 2015 (dir. Shira Piven)
  • Wanda, 1970 (dir. Barbara Loden)
  • Tank Girl, 1995 (dir. Rachel Talalay)
  • Archipelago, 2010 (dir. Joanna Hogg)
  • Catch and Release, 2006 (dir. Susannah Grant)
  • Tirez la langue, mademoiselle, 2013 (dir. Axelle Ropert)
  • Krylya (Wings), 1966 (dir. Larisa Shepitko)
  • Lick the Star, 1998 (dir. Sofia Coppola)
  • CB4, 1993 (dir. Tamra Davis)
  • A Girl’s Own Story, 1984 (dir. Jane Campion)
  • Forever’s Gonna Start Tonight, 2011 (dir. Eliza Hittman)
  • Hysteria, 2012 (dir. Tanya Wexler)
  • We Need to Talk About Kevin, 2011 (dir. Lynne Ramsay)
  • I Believe in Unicorns, 2015 (dir. Leah Meyerhoff)
  • Bande de filles, 2015 (dir. Céline Sciamma)
  • Sweetie, 1989 (dir. Jane Campion)
  • The To Do List, 2013 (dir. Maggie Carey)
  • Décalage Horaire (Jet Lag), 2002 (dir. Danièle Thompson)
  • Miss Meadows, 2014 (dir. Karen Leigh Hopkins)
  • Hester Street, 1975 (dir. Joan Micklin Silver)
  • The Queen of Versailles, 2012 (dir. Lauren Greenfield)
  • XXY, 2007 (dir. Lucía Puenzo)
  • Ir/Reconcilable, 2014 (dir. Gabrielle Fulton)
  • The Bigamist, 1953 (dir. Ida Lupino)
  • Advanced Style, 2014 (dir. Lina Plioplyte)
  • All Over the Guy, 2001 (dir. Julie Davis)
  • Pelo malo, 2014 (dir. Mariana Rondón)
  • Small, Beautifully Moving Parts, 2011 (dir. Annie Howell, Lisa Robinson)
  • The Night and the Moment, 1995 (dir. Anna Maria Tatò)
  • Una Hora Por Favora, 2011 (dir. Jill Soloway)
  • That’s What She Said, 2012 (dir. Carrie Preston)
  • Pay It Forward, 2000 (dir. Mimi Leder)
  • Madame Bovary, 2015 (dir. Sophie Barthes)
  • The Prince of Tides, 1991 (dir. Barbra Streisand)
  • Miele, 2014 (dir. Valeria Golino)
  • What Happened, Miss Simone?, 2015 (dir. Liz Garbus)