Chapter 11: Discovery

Discovery and revelation shape some of cinema’s most iconic moments. But beyond the best-known scenes lie insights into humanity, craft and discovery, as in Céline Sciamma’s Tomboy, where a mother suddenly begins to see her child in a new light. There is also the discovery of the nakedness of the opposite sex, as in the scene in Patty Jenkins’ Wonder Woman that turns the tables on the male gaze. Then, in Sabiha Sumar’s Silent Waters, the audience itself is led to a discovery that changes everything about how they see the story.

Chapter 12: Adult/Child

Famous film genres – war films, westerns and so on – are about adults, but in this chapter Jane Fonda tells the story of 18 films about children from Germany, Belgium, Mongolia, Sweden, Russia, Canada, Senegal, Argentina and Scotland.

Chapter 13: Economy

We have all seen bloated films, but what visual and storytelling lessons about keeping things simple can we learn from Claire Denis, Maria Louisa Memberg, Kinuyo Tanaka, Agnès Varda, Valeska Grisebach and Desiree Akhavan?

Chapter 14: Cutting

How have filmmakers such as Ava DuVernay and Kathryn Bigelow in America, Sarah Maldoror in Mozambique, Leni Riefenstahl in Germany and Drahomíra Vihanová in the Czech Republic, together with their editors, pushed the boundaries of montage techniques?

Chapter 15: Point of View (POV)

Is cinema the art of point of view? Jocelyn Moorhouse, Ida Lupino, Edith Carlmar from Norway, Sofia Coppola, Liliana Cavani from Italy, Kelly Reichardt, the great Larisa Shepitko, Jennifer Kent and other great directors will show the art of the point-of-view (POV) shot in film. 

Chapter 16: Close-Up

If close-ups give films their tension, then films shot over more than a century in Belgium, Hungary, Australia, Finland, China, America, France, Germany and Ukraine will show how that tension is best used.

Chapter 17: Surrealism and Dreams

India’s Sharmila Tagore, one of the great stars of film, narrates this bold chapter exploring dreams in films, ranging from Wayne’s World to experimental film, and from there to Jane Campion, Sally Potter, Bulgaria and silent films.

Chapter 18: Bodies

In cinema, bodies can appear as seductive, dancing or subjected to violence. Jane Fonda narrates this chapter on how great directors have filmed bodies, including Agnès Varda, Andrea Arnold, Marva Nabili from Iran, Pirjo Honkasalo from Finland, Márta Mészáros and Wanda Jakubowska from Poland.

Chapter 19: Sex

From bodies to sex, the most controversial element of film. In this chapter, Diane Kurys, Lucile Hadžihalilović, Jamie Babbit, Safi Faye, Athina Rachel Tsangari, Alison de Vere, Carine Adler, Donna Deitch, Miranda July, Lucía Puenzo, Maren Ade, Chantal Akerman and others will show the best ways to portray sex on screen.

Chapter 20: Home

Refuge, shelter or prison? Sharmila Tagore tells the story of the idea of home on screen, using wonderful films by Edith Carlmar, Lynne Ramsay, Mai Zetterling, Liu Jiayin, Forough Farrokhzad, Antonia Bird and others.