The Apple

Five orphaned sisters are progressively walled inside their grandmother's house and married off, the home transforming into a bridal prison with each passing scene. The film inverts the Apple's locked door by showing what happens when girls are caged after tasting the open air rather than before.

A pregnant twelve-year-old vanishes into a lakeside town governed by patriarchs who confuse possession with care, and the detective unspooling the case keeps colliding with the architecture of fatherly ownership. Campion's procedural shares the Apple's central diagnosis: that the gravest harms to girls are committed by men who genuinely believe they are protecting them.

A woman wakes to find an invisible barrier sealing her inside an alpine valley, and the novel becomes a phenomenology of a life lived without witnesses or permission. Haushofer's transparent wall is the philosophical cousin of Makhmalbaf's locked gate, asking what a self even is when no one is watching it grow.

The compilation resurrects forgotten 1970s Beirut and Casablanca grooves recorded by women and men whose careers were truncated by war and censorship, granting them a second public life decades later. Like Makhmalbaf hauling her subjects from a hidden courtyard into a film camera's gaze, the project insists that what was sealed away was never lesser, only unheard.

This animated short reconstructs a child's-eye Mosul under occupation, the city's checkpoints and locked doors becoming the negative space around a girl's small daily errands. Working from the same Iraqi-Kurdish documentary tradition that shaped the Makhmalbafs, the piece treats childhood not as innocence but as a form of evidence.