A double bill screening of Kathryn Bigelow’s Blue Steel (1990) and Deborah Stratman’s In Order Not To Be Here (2002) in the regular Machine That Kills Bad People series.

A double bill 16mm programme including rarely screened films by Sumiko Haneda and Martine Rousset.

Claudia Weill’s Girlfriends (1978) and Friedl vom Gröller’s Photo Session (2010) capture the lives of two photographers.

Travel and the stories of those in transit form the focus of this screening featuring Alexandra Cuesta’s Piensa en Mí and Angela Schanelec’s Places in Cities.

A screening of Cheryl Dunye’s recently restored The Watermelon Woman alongside I am Micro by Shumona Goel and Shai Heredia.

Iranian director Samira Makhmalbaf’s award-winning Blackboards screens alongside poet and filmmaker Forough Farrokhzad’s acclaimed documentary The House is Black.

Sexplotitation and social commentary in this double bill from Doris Wishman and Peggy Ahwesh.

The Machine That Kills Bad People selects two films about political rebellion and social change.

Intimate portraits exploring ideas around filmic memories, family and community in a programme selected by Ben Rivers.

Soviet director Larisa Shepitko’s experimental WWII feature screens alongside Ute Aurand and Ulrike Pfeiffer’s West German travelogue.

A screening of Claire Denis’ Nénette and Boni and Mati Diop’s Big in Vietnam

Dual screening featuring the story of Ake, a young paralysed man in Thailand, and a memorial portrait of artist Mark Aguhar.

A double screening of Jeanne Liotta’s Observando el Cielo (Observing the Sky) and Annik Leroy’s In der Dämmerstunde – Berlin (From Dawn to Night – Berlin).

The Machine That Kills Bad People screen Ruth Beckermann’s Paper Bridge and Sylvia Schedelbauer’s Way Fare.

A double bill about the pleasures and perils of female collectivity, with Lizzie Borden in person for an introduction and Q&A.

A double-programme of films by and on filmmaker and novelist Assia Djebar.

A double bill from filmmakers Alice Guy and Ildikó Enyedi.

A double bill of hallucinatory desert landscapes in which past, present, and future converge.

A programme of two films meditating on landscapes and their complex relationship to labour and industry. 

This screening brings together two films of the same name, Anybody’s Woman, from 1930 and 1981. 

A short and a feature in the bi-monthly programme from The Machine the Kills Bad People.

Paris is the site of two films that explore love and alienation in the late 20th century in this double-bill screening.

A double bill of Selbé et tant d’autres (Selbe: One Among Many) and Reassemblage, two counter-ethnographies from the 1980s concerning women's lives in rural Senegal.

Watch the two films planned for next The Machine that Kills Bad People screening for free.