LFFF REVOLT SHE SAID:Women and Film After 68 CARRY GREENHAM HOME12A

LFFF REVOLT SHE SAID:Women and Film After 68 CARRY GREENHAM HOME

Book Tickets

Click a time to book tickets


Share This Page

Info

Please be aware that there are no trailers before the performance.

Synopsis

One hundred years after the first women got the vote in the UK, 50 years after the protests of May ’68 triggered resistance across the world, where is the feminist revolution now? ICO x Club des Femmes curate a season of films and happenings focused on women filmmakers post ’68, who took up cameras as they took to the streets: to instigate further revolutions in ways of seeing, being, living and loving.

LFFF is extremely proud to host the screening of Carry Greenham Home as part of Revolt, She Said: Women and Film After '68.


A QUESTION OF CHOICE

Sheffield Film Co-Op, UK, 1982

Workers’ rights were at the heart of the ’68 protests, but where was the conversation about working mothers? This film explores the lack of job prospects for Sheffield women with families to support. The women speak for themselves.


CARRY GREENHAM HOME

Beeban Kidron & Amanda Richardson, UK, 1983

Throughout history women have mobilised their status as mothers, daughters and grandmothers to protest war and violence. 1968 marked the year global alliances were formed between feminism and the peace and anti-Vietnam movements.


Fast forward to the UK in 1981, from the first arrivals ‘Women for Life on Earth’ to the thirty thousand women who formed a human chain to Aldermaston in 1983, the Greenham Common Peace Camp was a shining example of non-violent feminist action, changing both lives and laws. “The women of Greenham Common taught a generation how to protest,” noted Beeban Kidron, who made this, her first film, while living on-site with co-director Amanda Richardson.


Shot on video, its depiction of the courage, creativity and humour of the Greenham women contrasted greatly at the time with mainstream media portraits, giving greater insight into their motivations, and remains a seminal work of British feminism on film.


With the support of the Independent Cinema Office and BFI, awarding funds from The National Lottery