Tag Archives: Korean film

New Shows + Movies by Women — The Disappearing of Women’s Work

A lot of what you’re seeing the first two months of the year is Netflix debuting work from outside the U.S. I’ve talked about this before, so the quick recap is that while services like HBO have shuttered various co-production offices (such as theirs in Eastern Europe), Netflix has doubled down on a blend of co-producing original films and series and licensing pre-existing ones.

Netflix, Hulu, and Amazon are the big players in terms of producing or acquiring content from outside the U.S./Britain/Canada, and they each seem to have their areas of focus. Netflix has been building a serious industry relationship over the last several years with the South Korean film industry, licensing series while increasingly producing their own Korean originals. They also have a pretty successful anime arm, and have started bringing on board Japanese broadcast series. Beyond this, they have productive relationships with the Mexican, Polish, Indian, and Turkish film industries, including enabling a lot of feminist and inclusive work that might not otherwise get produced.

Hulu has some productive anime co-licensing and is trying to get more into South Korean series, doubtless after seeing Netflix’s success with it. They’re also pretty good bringing in Western European (French, Spanish) work.

Amazon’s reach means they bring a broad range of international work in, and they’ve produced a good amount of Indian work.

Obviously, other sites with more focused ranges fit this description, too. Crunchyroll is still the powerhouse in anime. Kanopy’s focus on film history means they’ve got work from around the world, accessible with student credentials or many public library cards. MUBI’s rolling film library based on limited licensing has quick turnover on newer work, but often gets some of the most interesting films. FilmDoo is a remarkable resource for many countries not featured elsewhere – I’m fond of its Mongolian section.

Part of why I bring this up is that not every country’s industry regularly funds and supports women filmmakers. The best (or worst) example of this is India, where fights over government censorship have targeted the work of women filmmakers. Netflix and Amazon have engaged in a game of brinksmanship with the Indian government over future production, and there is a lot of work out there that probably wouldn’t get made or would look completely different without these platforms. This doesn’t absolve these platforms or companies of other issues they have, but the branches fighting for artists in India aren’t the ones making top-down decisions either.

Most streaming services are experimenting with “erasing” their original content from access right now. According to Variety, Showtime has removed two 2022 series, “American Gigolo” and “Let the Right One In”, from streaming entirely. This includes episodes that only debuted three or four months prior. Other recent shows, such as “Kidding” and “On Becoming a God in Central Florida” have been removed entirely from the platform. Paramount+ removed several titles including Jordan Peele’s recent “The Twilight Zone”. Hollywood Reporter highlights that HBO has done the same to “Westworld”. This is often due to tax breaks, saving on licensing, and/or avoiding paying out residuals to cast and crew. Some will be shopped to other services (HBO is looking for an ad-based one for “Westworld”), while others will simply remain inaccessible.

I bring this up here because the work that’s most susceptible to being erased is the work that doesn’t get much support starting out – women get less funding and less platforming than men. When HBO killed off their Central and Eastern European production last year, they also cut access to many new shows by women, several of which were featured here. Their argument was that these were lesser searched and seen, as if the failure to platform work by women at the same level as men has nothing to do with this.

It’s not just a case of these shows being cut off, either. The women who produced these series had made licensing deals with HBO, foregoing other potential licensing deals with other services. HBO then cut access to their work as a cost-saving strategy. Not only did these women lose out on another deal that could have continued to show their work, but their revenue through licensing was also then cut off early after that opportunity had passed. That also means the revenue of cast and crew through residuals was cut off.

It’s an ugly and disgusting new strategy that most streaming services are now testing. If the value proposition of these platforms is their original content and ability to license new and interesting work, and they pull the rug out from under these, then what value remains? Which artists do you think will be the first on the chopping block? The work of women, international artists, and artists of color will be the most erased. Those artists will suffer the most financial loss. It’s something that should not be normalized.

Remember, nearly every streaming service has a comment section where you can request a title or lodge a criticism, and most still have a customer service number where a real person picks up pretty quickly. I’ve had reason to test that here and there. Stand up for the work you want to see. If you’re reading this, chances are good you want to see the work of women. So let’s get to it:

New series come from Mexico, South Korea, and the U.S., and new films from Catalonia in Spain.


The Consultant (Amazon)
mostly directed by women

Christoph Waltz plays an abusive, sociopathic boss who pushes employees to absurd lengths to see how far they’ll go.

Five of the eight episodes are directed by women. Charlotte Brandstrom (“LOTR: The Rings of Power) and Alexis Ostrander (“Cruel Summer”) each direct two episodes. Horror director Karyn Kusama (“Halt and Catch Fire”) directs another.

You can watch “The Consultant” on Amazon Prime. All 8 episodes are out on Friday.

Summer Strike (Netflix)
showrun/directed by Lee Yoon Jung

Despite professional success, Lee Yeo Reum is burned out and struggling with misfortune and loss. She quits her job and moves to the seaside, in pursuit of doing nothing. There she meets An Dae Beom, a librarian who was once a math prodigy but turned away from academic life. The pair both need to heal, and connect despite their caution.

“Summer Strike” is a South Korean show written and directed by Lee Yoon Jung. She’s known for similar dramas like “Coffee Prince” and “Heart to Heart”.

You can watch “Summer Strike” on Netflix. All 12 episodes are out immediately.

Triptych (Netflix)
showrunner Leticia Lopez Margalli

(Turn on the auto-translate option for subtitles.)

A forensics expert discovers a murder victim is identical to her. This sets her on a path of discovering sisters she never knew about.

The Mexican series is written and showrun by Leticia Lopez Margalli, who also created the popular “Dark Desire”. It’s gotten some “Orphan Black” comparisons, though the premises diverge pretty early.

You can watch “Triptych” on Netflix. All 8 episodes are out.

The Company You Keep (ABC, Hulu)
co-showrunner Julia Cohen

Charlie is the son in a storied family of con artists. Emma is an undercover CIA agent. The pair fall in love without either realizing they’re professional enemies.

Julia Cohen showruns with Phil Klemmer. She’s written and produced on “A Million Little Things” and “Riverdale”.

You can watch “The Company You Keep” on ABC or Hulu. One episode is out now, and new episodes premiere Sunday night (Hulu usually gets them the next day).


Alcarras (MUBI)
directed by Carla Simon

Peach farmers in Catalonia find their future is upended when the owner of their estate dies and sells the land out from under them.

Carla Simon directs the Catalan and Spanish film. “Alcarras” was nominated for 11 awards at Spain’s Goya Awards (similar to our Oscars). She’s also earned widespread recognition for many of her short films.

You can watch “Alcarras” on MUBI starting Friday.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.

New Shows + Movies by Women — October 28, 2022

Sometimes a new show or movie can be hard to locate. Let me explain: every once in a while, there’s something listed but that doesn’t come available when it should. This usually has to do with international releases – HBO Max is particularly terrible listing the right dates for the right countries. I constantly see their Spanish-language series listed for release in the U.S. on one date, but then land on another, unlisted date. If I were to tell you to go see a series that isn’t there yet, that’s not very useful to you.

This has only gotten worse with Warner Bros. Discovery’s acquisition of HBO. Many international series have been pulled early. HBO Max used to be one of the best places to find European series. With a focus on originals, this included less-frequently platformed work by women. After the acquisition, Warner Bros. Discovery culled HBO’s European content. This included not only stopping original productions east of France, but removing content from Central, Eastern European, and Nordic countries that was already bought and paid for.

Perhaps you’ve heard of the movie “Batgirl” being denied any release. That was so the entire production can be used as a tax write-off. Incomplete shows might also be used this way, but these finished shows aren’t succumbing to the same situation – this has more to do with Warner Bros. Discovery not wanting to pay residuals. Some of this content may end up getting licensed out to other streamers, but much of it will simply disappear and not be seen again. That’s a tragedy for the artists involved, especially since it covers so much work by women in Europe.

New series by women come from India, Japan, South Korea, Spain, the U.K., and the U.S., with new films by women arriving from Belgium, Nunavut, South Korea, and the U.S.


Hush Hush (Amazon)
showrunner Tanuja Chandra

(Turn Closed Captioning on for subtitles.) This horror series from India follows five women, four of whom are trying to cover up a crime in their apartment block.

Tanuja Chandra has been directing films since the 90s. This is her first series.

You can watch “Hush Hush” on Amazon. All 7 episodes are out.

From Scratch (Netflix)
showrunner Attica Locke
directed by Nzingha Stewart, Dennie Gordon

Zoe Saldana stars as Amy, who falls in love with a Sicilian man while studying in Italy. The story tracks their relationship through the years across countries.

Attica Locke showruns the series based off Tembi Locke’s memoir. Attica also wrote and produced on “Empire” and “Little Fires Everywhere”. Joining from the latter to direct 5 episodes is Nzingha Stewart, who’s also directed on “Maid” and “Scandal”. “Madam Secretary” director Dennie Gordon also directs 3 episodes.

You can watch “From Scratch” on Netflix. All 8 episodes are out now.

The Bastard Son & The Devil Himself (Netflix)
half-directed by women

The son of an infamous witch finds himself trapped between two warring clans. All fear him because of his father’s history of violence, even as his father’s clan tries to kill him.

Debs Paterson and Rachna Suri direct two episodes apiece.

You can watch “The Bastard Son & The Devil Himself” on Netflix. All 8 episodes are out.

Arknights: Prelude to Dawn (Crunchyroll)
directed by Watanabe Yuki

Based on a tower defense puzzle game, “Arknights: Prelude to Dawn” follows a doctor’s team that’s racing to find a cure in a world beset by plague, disasters, and fascist governments. You can tell it’s not a documentary because some characters are part-animal.

Director Watanabe Yuki previously helmed episodes of “Warlords of Sigrdrifa” and “Visual Prison”.

You can watch “Arknights: Prelude to Dawn” on Crunchyroll. The series will be simulcast as episodes premiere in Japan every Friday.

Modern Love Tokyo (Amazon)
showrunner Hirayanagi Atsuko
mostly directed by women

(No English subtitles available on this one.) This Japanese adaptation of “Modern Love” is an anthology series. Each episode focuses on different characters and depicts a different form of expressing love.

Hirayanagi Atsuko showruns, as well as writing and directing two episodes. Ogigami Naoko and Yamada Naoko each direct another.

You can watch “Modern Love Tokyo” on Amazon. There are 7 episodes, all available immediately.

May I Help You (Amazon)
directed by Shim So Yeon

(No English subtitles available on this one.) Funeral director Baek Dong Ju can speak to the dead, who ask her to grant their last wishes. If she doesn’t, her bad luck accumulates. Kim Jib Sa runs odd errands for his uncle, but after a boycott is looking for new work. He might be able to help the funeral director with her odd requests.

Director Shim So Yeon has helmed a number of Korean series, including “Here’s My Plan”.

You can watch “May I Help You” on Amazon.

If Only (Netflix)
showrunner Ece Yorenc

(No embedded trailer available.)

Dissatisfied 30 year-old Emma is sent back in time 10 years after a lunar eclipse.

The Spanish series is helmed by Turkish director Ece Yorenc, who’s alternated between Turkish and Spanish series the last several years.

You can watch “If Only” on Netflix.


Earwig (MUBI)
directed by Lucile Hadzihalilovic

A 50 year-old caretaker must care for a 10 year-old girl, whose dentures are made of ice and must be changed around the clock.

The English-language, Belgian film is helmed by Lucile Hadzihalilovic, who also co-wrote the screenplay. She previously directed and co-wrote “Evolution”.

You can watch “Earwig” on MUBI.

CW: Following entry includes dating violence

Run Sweetheart Run (Amazon)
directed by Shana Feste

After her blind date turns violent, Cherie is trapped in the city at night. Doing everything she can to get home alive, she discovers she’s not the first woman to be hunted by this man.

Director and co-writer Shana Feste also helmed “Endless Love”.

You can watch “Run Sweetheart Run” on Amazon.

Slash/Back (VOD)
directed by Nyla Innuksuk

Maika and her friends use improvised weapons and their extensive horror movie knowledge to fight back against an alien invasion in their Arctic town. Most of the cast is Inuit or First Nations.

Nyla Innuksuk directs and co-writes the Nunavut film. She’s also helped create VR experiences for Tanya Tagaq and A Tribe Called Red.

See where you can rent “Slash/Back”.

20th Century Girl (Netflix)
directed by Bang Woo-ri

A teen in 1999 South Korea does a favor for her best friend – befriending her crush. Introduce his best friend and various complications ensue before the promise of a new century.

This is the first film from writer-director Bang Woo-ri.

You can watch “20th Century Girl” on Netflix.

Torn Hearts (Amazon)
directed by Brea Grant

This Blumhouse horror stars Katey Sagal as a country music legend who hosts a young country music duo seeking out her advice. When they discover she may have murdered her singing partner, their stay turns into terror at their idol’s hands.

Brea Grant directs from a screenplay by Rachel Koller Croft. Grant might be best known for recurring roles on “Dexter” and “Heroes”, and her shift into directing includes Angela Bettis horror-comedy “12 Hour Shift”.

You can watch “Torn Hearts” on Amazon.

The African Desperate (MUBI)
directed by Martine Syms

Palace is an MFA grad whose last 24 hours in art school become stranger and stranger.

This is the first feature for director and co-writer Martine Syms.

You can watch “The African Desperate” on MUBI.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.

New Shows + Movies by Women — October 7, 2022

Every once in a while, I choose not to include a film here. I’m cautious about this because as much work as I may have done, I don’t believe anyone really gets rid of every scintilla of ingrained bias. What we’re raised with, we see in the culture that shapes us, and what we continue to see every day combine as powerful forces that mean we never completely solve our potential biases. There’s a reason we divide between explicit and implicit bias. Implicit bias arises in us in ways we might not be able to recognize. If I include every new series and film I can find that’s showrun or directed by women, then bias is minimized at least in the step of selection itself. If I begin to remove certain listings according to my judgment, I introduce the potential for bias.

That’s why I try to include everything. When Ellen Rapoport’s “Minx” came out earlier this year, I still included it despite her previous film “Desperados” being incredibly racist toward Mexicans. I didn’t feel good about that, especially being of Mexican descent. I noted this concern and talked about why I had it, but I still included the series and told people where they could find it. Rapoport’s previous project had been dehumanizing – a dehumanization that I know from experience as a Latino can carry real risk to our safety.

The only things I haven’t included – and this really only comes up once every few months – are films that are blatantly propaganda or blatantly, intentionally, unquestionably harmful. I always try to err on the side of including a film. If this feature is supposed to be informational, I can always include a project and talk about why it’s problematic.

The film I’ve had that conversation about this week is Lena Dunham’s “Catherine Called Birdy”. Based on the novel by Karen Cushman, I struggle with Dunham’s repeated and unapologetic acts of racism, as well as her attempted cover-up of statutory rape by one of the writers on her series “Girls”.

Dunham has been consistently racist in posts and public statements she’s made, in limiting opportunities to whom she’s employed in the writers’ room and in front of the camera, and in her defenses of both actions. She met the statutory rape allegation against one of the writers on “Girls” by declaring the survivor, Aurora Perrineau, was lying. Dunham insisted she had insider information about the incident, but after the media storm passed, she admitted she had none. That Perrineau is Black also calls into question Dunham’s past, repeated dehumanization of Black people. Dunham’s response was already heinous enough before raising this question, but would she have defended the writer if he’d been Black and the survivor had been white?

Certainly, women who are successful are torn down relentlessly. That should give Dunham some benefit of the doubt, but that only goes so far. It doesn’t excuse Dunham’s own actions. It doesn’t serve as carte blanche for her to tear down people of color relentlessly. It doesn’t excuse her tearing down Perrineau. Do I list Dunham’s work? There’s a point where that decision doesn’t center around my potential bias, but rather on whether I should platform someone else’s expressed, evidenced bias.

I suppose the difference is this: I bring up Rapoport because she wrote a horribly racist screenplay, and that furthers views that cause harm. In my knowledge of her work, it does seem isolated to that project. That’s not an excuse, but lack of a pattern allows me to think there’s hope someone who does that may have made a terrible mistake. Maybe she can correct it in the future, or maybe I’m just an idiot who likes to think that’s a possibility. Either way, I feel comfortable giving her the benefit of the doubt and including her next project so long as I raise and talk about my concerns regarding her past work.

Dunham has doubled down on direct harm, not just dehumanizing people of color, but on limiting their opportunities under her employ as well. She’s made countless racist statements. Combined with unsupported accusations she made to delegitimize a statutory rape survivor, the lines she’s crossed are far too many.

There’s a reason author Zinzi Clemmons quit Dunham’s weekly newsletter and wrote, “It’s time for women of color – black women in particular – to divest from Lena Dunham”. Certainly, if it’s time for women of color to do so, then it’s time for men of color to ally with that decision. I would hope that women of color are entrusted to lead enough that white people would ally with this choice as well. With Dunham, there’s an evidenced pattern of behavior, and – perhaps more damning – an evidenced refusal to attempt accountability, change, or treating either as having worth.

Am I still highlighting Dunham’s new film by making my introduction about her? If your takeaway is that you can’t wait to watch her work, then nothing I say is going to make a difference in that. Is it possible I end up reviewing something she’s in later? Sure, but it’s very unlikely to be something she writes or directs. I’ve written in the past that these choices are difficult when movies themselves are created by so many people. Do you refuse to watch “X-Men” because director Bryan Singer was a statutory rapist or do you watch it because Patrick Stewart is a domestic violence survivor and activist, and Ian McKellen was one of the only out gay actors in the 90s to overcome hiring resistance? I don’t know what the right answer to that is, and if you watch a Dunham film because one of the actors is meaningful to you, I’m not going to think you’re a terrible person. I do think when we make these decisions one way or the other, it’s important to talk about them and treat them realistically.

Am I censoring Dunham? If that’s how we’re treating the word ‘censorship’, then to platform her is to censor people of color. In that choice, she’s one person, they’re many. Just as important, she’s the instigator of that censorship, they’re the people surviving it. Not a tough choice.

Too often, people find themselves defending a Depp because we had his posters on our walls growing up, a Gilliam because his reruns from half a century ago make us laugh, or even a Polanski because he suffered trauma and wins Oscars. It’s reasonable to still find meaning in some of their work, sure, but we need to learn to separate that from icon worship. Most people know what it’s like to have some harmful moron we hang onto and defend too long. We identify with people we don’t know, and as we learn more about them, we don’t want to lose that identification. Sometimes it’s easier to defend them than defend ourselves from them.

It’s hard to be complete about this. It’s impossible to learn everything about everybody in isolation, let alone as patterns. We share something or platform someone without realizing it’s a bad idea until it’s too late. Yet sometimes the pattern is obvious, and you know what – that’s still only half of it. For me, this is really just as important, because I do believe people can learn and change: the refusal to change that pattern is also obvious. When someone’s pattern of harm and the refusal to do the work to change it are both that obvious, the refusal to platform that person becomes obvious, too.

What I’m going to do today is decide that I won’t share work that Dunham writes or directs. She’s not the first I’ve made that decision for. When the Soska sisters decided to ally themselves with and spout propaganda for white supremacists, I decided not to platform their work. Each of these situations is different, and it takes a lot for me to make that decision. I hope you understand why I am, and why it’s important to talk about.

New series this week come from Canada, Japan, South Korea, and the U.S. New movies come from the Philippines and the U.S.


Glitch (Netflix)
directed by Roh Deok

A woman hired through nepotism loses her boyfriend amid mysterious flashing lights one night. An unsuccessful livestreamer obsessed with mysteries and the UFO community may have insight. The pair team up to find out the truth. “Vincenzo” lead Jeon Yeo Been joins K-Pop-star-turned-actress Nana (of such groups as Orange Caramel and Dazzling Red).

Roh Deok has directed breakup film “Very Ordinary Couple” and journalism thriller “The Exclusive: Beat the Devil’s Tattoo”.

You can watch “Glitch” on Netflix.

CW: grooming

A Friend of the Family (Peacock)
mostly directed by women

A family friend kidnaps their daughter several times over the course of years. It’s based on the real story of Jan Broberg Felt being kidnapped twice by her neighbor in the 1970s.

Rachel Goldberg and Eliza Hittman direct two episodes apiece, with Lauren Wolkstein directing another. Goldberg’s directed on “The Sinner” and “American Gods”. Hittman is the director of “Never Rarely Sometimes Always”. Wolkstein directed on “Queen Sugar”.

You can watch “A Friend of the Family” on Peacock. The first four episodes premiered this week, with another episode arriving every Thursday for a total of 9.

Raven of the Inner Palace (Crunchyroll)
directed by Miyawaki Chizuru

A consort with mystical powers consults spirits in order to solve a web of assassinations, murders, and other mysteries inside the palace of a Chinese kingdom. The anime is based on the light novel series.

Director Miyawaki Chizuru was one of the two major directors of the “Gintama” series of shows and movies for years. She started off doing key animation work in the last 90s on shows like “Hunter x Hunter” and “Generator Gawl”.

You can watch “Raven of the Inner Palace” on Crunchyroll. New episodes arrive Sundays.

Fire Country (CBS)
showrunner Tia Napolitano

A convicted man joins a firefighting program that may shorten his prison sentence. He works alongside inmates and professional fire fighters alike to combat wildfires.

Showrunner Tia Napolitano also wrote and produced on “Scandal” and “Cruel Summer”.

You can watch “Fire Country” on CBS. New episodes air on Friday.

Family Law (The CW)
showrunner Susin Nielsen

Jewel Staite plays Abigail, a lawyer who loses her job due to alcoholism. Unable to get hired anywhere else, her only refuge is the law firm of her father, played by Victor Garber. He has two other children who work there as lawyers – whom she doesn’t know.

Showrunner Susin Nielsen is a longtime writer and producer of Canadian television. Her career started as an art department assistant on the original “Degrassi High” before she shifted into the writers room.

You can watch “Family Law” on the CW. New episodes arrive every Sunday.


Deadstream (Shudder)
co-directed by Vanessa Winter

A disgraced livestreamer needs a big stunt for his comeback: one night streaming from a haunted house. This one’s real, and a vengeful spirit looks to take him offline permanently.

Vanessa Winter writes and directs with Joseph Winter. The pair also directed a segment on this year’s “V/H/S/99”.

You can watch “Deadstream” on Shudder.

Doll House (Netflix)
directed by Marla Ancheta

This film from the Philippines finds a man hiding his identity in order to take care of the daughter he left behind years ago.

Marla Ancheta also directed “Ikaw” and “Finding Agnes”.

You can watch “Doll House” on Netflix.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.

New Shows + Movies by Women — September 9, 2022

There’s a lot this week, but before we dive in, I want to highlight that Celine Sciamma’s “Petite Maman” has arrived on Hulu. If you asked me the best filmmaker working today, the “Portrait of a Lady on Fire” and “Girlhood” director is the first name that comes to mind. I try to feature films when they hit VOD and then hit their first subscription platform. A subtle fantasy about a girl helping her parents after the death of her grandmother, “Petite Maman” has already been on MUBI most of the year. I know that is a niche platform to many. It’s worth mentioning now that it’s on Hulu, which a lot more folks have.

Series this week come from South Africa, South Korea, Spain, the U.K., and the U.S. Films comes from Nigeria, the Philippines, Sweden, and the U.S.


Little Women (Netflix)
directed by Kim Hee Won

Loosely based on the novel by Louisa May Alcott, three sisters who grew up in poverty find themselves involved in the disappearance of a fortune and embattled with the wealthiest family in South Korea.

Director Kim Hee Won has helmed a growing list of South Korea’s most lauded series, including “Vincenzo”, “The Crowned Clown”, and “Money Flower”.

You can watch “Little Women” on Netflix. Two episodes are out now. A new one arrives every Saturday and Sunday (two a week), for a total of 12.

Wedding Season (Hulu)
half-directed by Laura Scrivano

Not to be confused with last month’s Netflix film of the same title, Hulu series “Wedding Season” starts as a breezy wedding-themed romcom, only for the bride to find her husband’s entire family poisoned. The suspects include a cross-section of her romantic life, as well as herself. “Alita: Battle Angel” and “Undone” star Rosa Salazar is the lead.

“The Lazarus Project” director Laura Scrivano directs four of the series episodes.

You can watch “Wedding Season” on Hulu.

You’re Nothing Special (Netflix)
showrunner Estibaliz Burgaleta

In this Spanish comedy, a girl discovers witch-like powers after moving from the city to her mother’s small town. She may have inherited them from her grandmother.

Estibaliz Burgaleta is a prolific writer on Spanish comedy series.

You can watch “You’re Nothing Special” on Netflix. All 6 episodes are out.

Devil in Ohio (Netflix)
showrunner Daria Polatin

Emily Deschanel plays a psychiatrist who brings a cult escapee into her own family, triggering calamitous events.

Daria Polatin showruns and writes on the series based on her own novel.

You can watch “Devil in Ohio” on Netflix.

Fakes (Netflix)
directed by women

Two teens design a system to print fake IDs, but things spin out of control as they turn what was a small operation into an empire.

Jasmin Mozaffari and Joyce Wong direct four episodes apiece, while Emmy-nominated Mars Horodyski directs two.

You can watch “Fakes” on Netflix. All 10 episodes are out.

Recipes for Love and Murder (Acorn TV)
showrunner Karen Jeynes

In this South African crime comedy, an advice columnist uses her cooking skills to investigate murders when one of her correspondents is killed.

Karen Jeynes showruns and writes the series adapted from Sally Andrew’s novels, as well as directing four episodes.

You can watch “Recipes for Love and Murder” on Acorn TV. Two episodes are out, with another two arriving every Monday for a total of 10.

Tell Me Lies (Hulu)
showrunner Meaghan Oppenheimer

“Tell Me Lies” tracks the evolution of a toxic relationship that starts in college, impacting not just the two lovers but the lives of everyone around them.

Meaghan Oppenheimer showruns. She’s also written on “Fear the Walking Dead”.

You can watch “Tell Me Lies” on Hulu. The first three episodes are out, with another landing every Wednesday for a total of 10.


Love at First Stream (Netflix)
directed by Cathy Garcia-Molina

A streamer and three friends navigate online connections in order to cope with their offline realities.

Director Cathy Garcia-Molina might be the Philippines’ biggest director, having directed the two highest grossing Philippine films ever made.

You can watch “Love at First Stream” on Netflix.

End of the Road (Netflix)
directed by Millicent Shelton

Queen Latifah and Ludacris star in a cross-country action movie where she has to keep her family alive as they’re stalked by a highway killer.

“Black-ish” and “Locke & Key” director Millicent Shelton directs.

You can watch “End of the Road” on Netflix.

Collision Course (Netflix)
directed by Bolanle Austen-Peters

A musician and police officer race against time as they evade corrupt law enforcement in this Nigerian action movie.

This is Bolanle Austen-Peters second film, and won Best Screenplay and Best Supporting Actor at the African Movie Academy Awards.

You can watch “Collision Course” on Netflix.

Diorama (Netflix)
directed by Tuva Novotny

In this Swedish film, a couple’s romance, marriage, and slow fragmentation are considered from a scientific perspective…of a sort. Can’t find an English trailer I can post here for it, but Netflix has options on the film itself.

Writer-director Tuva Novotny is an actress who made the jump to director on “Lilyhammer”.

You can watch “Diorama” on Netflix.

Unplugging (Hulu)
directed by Debra Neil-Fisher

A couple detox from all things digital in a remote town, but things quickly devolve into chaos.

This is the first film Debra Neil-Fisher directs, but you’ve almost surely seen her work before. A sought-after comedy editor, she edited the first two “Austin Powers” movies, all three “The Hangover” films, the 2020 “Sonic the Hedgehog”, and “Coming 2 America”.

You can watch “Unplugging” on Hulu or see where to rent it.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.

New Shows + Movies by Women — February 11, 2022

There’s a lot to get to this week. With 14 titles, most streaming services see something new, but it’s an especially good week if you have Netflix or Shudder. Just from what I’ve observed writing this feature for the past two years, Netflix regularly has a big influx of projects by women. I don’t know that they have a higher rate than others. Since Netflix has a much larger output compared to other streaming services, it could just be a matter of volume. Either way, there are weeks like this where a huge number of titles by women appear on the platform.

As for Shudder, it’s picking up a lot of horror films that came out on rental last year, but that haven’t found a subscription service until now. These can be international, like Argentina’s “Rock, Paper and Scissors”, or a low-budget indie like “I Blame Society”. Shudder can be pretty good at grabbing these horror gems by women that other services overlook.

Of course, with Valentine’s Day around the corner, there’s also a number of romantic comedies out there. It’s a genre I do miss and they look surprisingly good. Expect to see some promising ones coming out this and next week.

New shows and films by women this week come from Argentina, Iran, Japan, the Netherlands, South Korea, the U.K., and the U.S.


Inventing Anna (Netflix)
showrunner Shonda Rhimes

Julia Garner stars as Anna, a con artist who uses Instagram to convince New York high society that she’s a German heiress…before stealing their money. The series is based on a real-life case where Anna Sorokin defrauded banks, hotels, and the wealthy throughout the 2010s. If you don’t know Garner, she’s absolutely an actress to keep your attention on.

Shonda Rhimes created and showruns “Inventing Anna”. Rhimes has produced on “Bridgerton”, “Scandal”, “How to Get Away with Murder”, and “Grey’s Anatomy”.

You can watch “Inventing Anna” on Netflix. All 10 episodes are immediately available.

Sister Boniface Mysteries (Britbox)
showrunner Jude Tindall

A Catholic nun spends her free time solving mysteries.

Showrunner and writer Jude Tindall also created and wrote for “Shakespeare & Hathaway: Private Investigators”, and wrote on the show where the character of Sister Boniface first appeared, “Father Brown”.

You can watch “Sister Boniface Mysteries” on Britbox. New episodes arrive every Tuesday.


Ballad of a White Cow (MUBI)
co-directed by Maryam Moghadam

Maryam Moghadam writes, directs, and stars as Mina in this Iranian film. Mina discovers her husband was innocent of the crime for which he was executed. She attempts to fight the very system that denies her even the most basic agency as a woman.

Maryam Moghadam directs with Behtash Sanaeeha. As an actress, she’s appeared in a number of Iranian films. This is her third film as a writer, and second as director.

You can watch “Ballad of a White Cow” on MUBI.

The Sky is Everywhere (Apple TV)
directed by Josephine Decker

Based on the novel by Jandy Nelson, a shy musician tries to keep growing up in the wake of her older sister’s death.

Josephine Decker directs, and she’s kind of a big deal. She helmed “Shirley” starring Elisabeth Moss, and “Madeline’s Madeline”. She has a tendency to get weird, meta, and experimental.

You can watch “The Sky is Everywhere” on Apple TV.

Anne+ (Netflix)
directed by Valerie Bisscheroux

In this Dutch film, a graduate navigates her love life in the LGBTQ+ scene of Amsterdam, while trying to get her writing career off the ground.

The film is based on director and co-writer Valerie Bisscheroux’s series “Anne Plus”.

You can watch “Anne+” on Netflix.

I Blame Society (multiple services, VOD)
directed by Gillian Wallace Horvat

Gillian is a good filmmaker, but she just can’t seem to break through. Then it comes to her: the skills to be a good director are very similar to the skills needed to commit the perfect murder.

Writer-director Gillian Wallace Horvat is a prolific producer and director of video documentary shorts. Put another way, she directs those documentary featurettes that end up as extra features on new releases and remasters. Some are historical, some are analytical, some confront problematic elements in classic films.

It’s a unique skillset and she has about 50 of these to her credit in just the last five years, along with occasional award-winning shorts.

You can watch “I Blame Society” on Hoopla, Kanopy, Shudder, Tubi, or see where to rent it.

Child of Kamiari Month (Netflix)
directed by Shirai Takana

A girl named Kanna is a descendant of the gods. It’s her family’s duty to collect offerings from around Japan and deliver them to the gods. When her mother passes away, Kanna takes the responsibility on in the hope the gods can reunite them.

Shirai Takana started out doing in-between animation on movies a decade ago, worked her way through key animation jobs, and assistant directed 2020’s visually stunning “Children of the Sea”. This is her first film as director.

You can watch “Child of Kamiari Month” on Netflix.

Marry Me (Peacock)
directed by Kat Coiro

Jennifer Lopez stars as singer Kat Valdez, who’s about to marry her longtime partner Bastian in front of a global audience. She learns seconds beforehand that he’s been unfaithful. Totally reasonably she marries a stranger in the crowd, a man named Charlie who just so happens to be played by Owen Wilson.

Based on the graphic novel, Kat Coiro directs. She’s been a director on “Dead to Me”, “The Mick”, and “It’s Always Sunny in Philadelphia”. She’s also directing the upcoming MCU “She-Hulk” series.

You can watch “Marry Me” on Peacock.

Love and Leashes (Netflix)
directed by Park Hyeon-jin

A woman stumbles on her co-worker’s secret, and the two develop a romantic bond over BDSM. The Korean romantic comedy is based on a webtoon.

Writer-director Park Hyeon-jin has previously directed “I Am Your Bleating Phone” and “Like for Likes”.

You can watch “Love and Leashes” on Netflix.

Rock, Paper and Scissors (Shudder, VOD)
co-directed by Macarena Garcia Lenzi

In this Argentinean horror film, two siblings resent their half-sister when she seeks her part of their father’s inheritance. They don’t want to sell the house they’ve inherited, so they decide to hold her captive, playing a series of escalating games.

Macarena Garcia Lenzi directs with Martin Blousson. It’s the first narrative feature for either.

You can watch “Rock, Paper and Scissors” on Shudder, or see where to rent it.

Alone with You (VOD)
co-directed by Emily Bennett

A woman eagerly anticipates her girlfriend’s homecoming. As she prepares, their apartment begins to take on hallucinatory qualities, hinting at a truth she’s tried not to recognize.

Emily Bennett co-writes, directs with Justin Brooks, and stars. This is her first feature film as director.

See where to rent “Alone with You”.

Homestay (Amazon)
directed by Seta Natsuki

In this Japanese film, a high school student passes away and a soul takes up residence in their body. That soul has 100 days to figure out the truth behind that student’s death. I believe this is a remake of a Thai film, but based on a novel by Japanese writer Eto Mori. Can’t find a subtitled or dubbed trailer for the Japanese version, but English subtitles will be available on Amazon.

Seta Natsuki has directed on several Japanese films and the series “The Curry Songs”.

You can watch “Homestay” on Amazon.

The Kindness of Strangers (Netflix)
directed by Lone Scherfig

Clara and her two sons escape from her abusive husband. In a tough New York City winter, their survival is reliant on rare, intertwining acts of kindness. Zoe Kazan stars as Clara.

Writer-director Lone Scherfig has directed a number of films in Denmark, the U.K., and the U.S. This includes the Oscar-nominated “An Education”, as well as “Italian for Beginners” and “Their Finest”.

You can watch “The Kindness of Strangers” on Netflix.

Tall Girl 2 (Netflix)
directed by Emily Ting

A tall girl has gained popularity at school, and as the lead in the school play has to navigate social issues she hadn’t before. This is the sequel to “Tall Girl”.

Emily Ting directs. This is her third film.

You can watch “Tall Girl 2” on Netflix.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.