True to their name, Slave to Sirens — the first and only all-woman thrash metal band in the Middle East — are utterly magnetic. Amid a backdrop of political unrest and the heartbreaking unraveling of Beirut, five bandmates form a beacon of expression, resistance, and independence. Director Rita Baghdadi follows founders and guitarists Lilas Mayassi and Shery Bechara as their tenderness, and sometimes bitterness, for one another grows in ways both unexpected and deeply moving. Joined by vocalist Maya Khairallah, bassist Alma Doumani, and drummer Tatyana Boughaba, these women negotiate their emotional journeys through young adulthood in tumultuous circumstances with grace, raw passion, and a ferocious commitment to their art. Their grit is tested as they grapple with the complexities of friendship, sexuality, and the destruction around them.

Palestinian women, the often-forgotten victims of the Israeli-Palestinian war, are here given a voice by Jocelyne Saab. The film was commissioned by Antenne 2 (France), but it was censured while still in the editing stage and never shown. This print was specially made for this retrospective by the conservation centre at Cinemateca Portuguesa.

A young woman leaves a state orphanage to find her mother in this interesting examination of how the overt repression of women in the older pattern of village life has been replaced by the more subtle exploitation inherent in the apparently freer existence of young girls in the contemporary city.

Andula, an innocent Czech girl from a factory town, is desperately in search of love. She believes she's found it when she beds Milda, a charming young musician visiting from Prague. Milda, however, is only looking for a casual encounter, and leaves town assuming he'll never see Andula again. But when Andula doesn't hear from him, she packs up and heads to Prague, to the surprise of Milda and his parents.

John Berger's Ways of Seeing changed the way people think about painting and art criticism. This watershed work shows, through word and image, how what we see is always influenced by a whole host of assumptions concerning the nature of beauty, truth, civilization, form, taste, class and gender. Exploring the layers of meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just looking - we are reading the language of images.