During the Second World War, women were for the first time allowed to work as war correspondents. Based on reports, letters and diary excerpts, filmmaker Luzia Schmid sketches a personal portrait of three fearless women and their unique attempts to report on the war.

To achieve women's rights and gender equality, these three pioneers were willing to risk their livelihood and their future, as well as their reputations.

While Mi-na is out, Hyeon-goo invites So-hee to his house and enjoys. She forces So-hee, who wants to go to sleep, back to her house because Mi-na doesn't know when she will come back. However, while secretly meeting Seung-mo, Mi-na informs Hyeon-goo that she cannot enter her house, and Hyeon-goo regrets sending So-hee to her house. But this time, he invites Soo-yeong, a business traveler, to his house.

Dong-seok, the husband who drinks everyday and comes home late. While Sang-hee waits for Dong-seok, she is being comforted by the main character of the movie, Min-gi. Meanwhile, Dong-seok feels sorry for his wife and talked to Yeong-cheol about his troubles. After seeing a video only meant for the couple, and hearing Dong-seok's troubles, Yeong-cheol told his wife, Mi-yeon, that it was nothing. The wife's nervous behavior continues. Dong-seok sneaks through his wife's car. He found a business card and heads there. There, he meets Ha-ni, the female character in the video and experiences a strange sensation. Mi-yeon continues to revolve around Sang-hee and Dong-seok. The couple continues to fall in a confusing situation... Louis, the man who knows everything and the one who controls the couple... Sang-hee and Dong-seok have an experience of changing their daily lives.

THREE SLAVE WOMEN is comprised of three stories of three women, who share the same slave master. Starring the sexy up-and-coming starlet ASAMI, this film includes some of the best shibari, kinbaku and slave-master scenes ever produced in Japan. All three are in love with Kajiwara, a dominant bondage master who punishes them in intricate and graphic ways. Their separate stories cross paths at a surprising culmination of eroticism, lust and S&M play.

Junhyuk tells her lover Younghee that she can’t have sex too much. Minsu introduces a woman who teaches sex to Junhyuk, who is sad. Junhyuk takes different sex classes from three women, and each day is reborn as a sex machine…

Three Women and A Half 三个半女人 is a top-rated drama series in Singapore filmed by Matrix Vision and screened on MediaCorp TV Channel 8 in 2001. It starred Huang Wenyong, Aileen Tan, Huang Biren, Lin Meijiao and Vivian Lai. The plot mainly revolves around three office ladies Jane, Monica and Rachel competing with one another in an advertising firm in a bid to climb the corporate ladder.

The story of Yoshinaka during the tumultuous period of warring related to us in the Heike Monogatari. Close in setting to Kinugasa’s famous Gate of Hell (1953).

Three different stories about three women. Three women, the first (Hana), who loves (Adel), but she meets (Sami) to also fall in love with him, the second widow (Tawahida), who loves (Yusef) the employee of the Muslim Council, but he is married, and the third (Shams), the singer who falls in love with Fathi But he lives at a loss because of her sitting with clients, what happens to the three women

From late 16th century until 1863, the Dutch sold an estimated 600,000 African people into slavery. This documentary follows three women who are each involved in the heritage of slavery in their respective roles. When researcher Ellen-Rose Kambel discovers a photograph of a man who owned her ancestors in slavery, she decides to locate his descendants.

Story of Japanese women.

Yu Mi-young, an ordinary housewife, loses her husband in a car accident. Two women come to his funeral and she is raged with his betrayal. She finds out in his diary that it wasn't an accident and plans a revenge against the two women, Sin-ae and Su-mi.

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In a remote village, whose name roughly means “a cold place”, this film looks for warmth in encounters. The Ukrainian village of Stuzhytsya is situated in the Carpathian Mountains in the border triangle between Poland and Slovakia. The three elderly female protagonists – a farmer, a post office clerk and a biologist – are firmly rooted in a place where hardly any young people are left in 2019, the year of Zelensky’s election victory. Over time, the film crew also becomes, at least temporarily, a valued part of the village community.

The short stories of Guy de Maupassant enjoyed a renaissance in the early 1950s, thanks in great part to the Max Ophuls production Le Plaisir. In Trois Femmes, three De Maupassant stories are dramatized, each conveying the central theme of women falling in love. In the first, a black female carnival entertainer causes an uproar when she falls in love with a white soldier. In the second, a young bride is pressured into having a baby to collect a huge inheritance. And in the final episode, a pregnant girl is "adopted" and protected by a small circle of friends. In standard De Maupassant fashion, each of the three stories in Trois Femmes is capped by a surprise twist.

"Three Women, is an ambitious work designed to be shown on multiple screens in a movie theater. Moving a step forward from the use of multiple screens as an expansion of cinema as exemplified by Abel Gance’s Napoléon (1927), it presents what is literally a conceptual expansion of cinema in the form of a filmic work experienced in a theater in which the 15-channel, surround-sound audio constructed by Araki Masamitsu and Ito’s visuals organically intertwine."

Two roommates (and their friend) must decide whether or not to evacuate their apartment.

The story of three women of three countries, who are deserted and killed by men, and whose spirits, in turn, take revenge on the wicked men.

It is a story of three women in each working life, and each episode has three stories.

The 23-year-old director, fresh out of university, lives at home with her mother and grandmother. She rebels against them but also tries to understand the generation gap between them. While she gets angry and questions their expectations of her as a woman (i.e., to marry and have children), she also gropes for the meaning of real love. Along with her mother and grandmother, the three women wring out their loves and hates with explosive strength. The director in her performance piece uses her own body to project the images of her mother, turning her lost loves into springboards, practically jumping out of the screen so she can shout with all her might.