Lors d'un séjour dans leur maison de campagne, Solange (Jeanne Ferron), une sexagénaire annonce à ses trois filles et sa petite-fille Zouzou (Anouk Delbart) qu'elle a un homme dans sa vie.
The video begins with shots of a vacant village, overgrown with weeds, and the concrete sarcophagus of a covered-over nuclear reactor in the background. As the music begins, the scene changes to a sci-fi-style nighttime military-style police raid on a cult. Futuristic flying troop transports crash through the windows of a tower topped by gigantic neon-lit eyes and occupied by armed defenders. The policemen exchange gunfire and grenades with cultists whose hoods depict an enormous eye. The victorious police begin to sort through the bodies of the cultists, two policemen find what appears to be a girl, lying unconscious, with large feathered wings on her back.
The story begins in late 1960s Japan. A group of tanuki are threatened by a gigantic suburban development project called New Tama, in the Tama Hills on the outskirts of Tokyo. The development is cutting into their forest habitat and dividing their land. The story resumes in early 1990s Japan, during the early years of the Heisei era. With limited living space and food decreasing every year, the tanuki begin fighting among themselves for the diminishing resources, but at the urging of the matriarch Oroku ("Old Fireball"), they decide to unify to stop the development.
I Was A Teenage Feminist examines how and why an uneasiness with the word “feminist” has developed among modern, young women. Throughout the film, Shechter expresses her own struggle with identity as it relates to modern feminism and past iterations of the feminist movements. To illustrate Shechter’s beginnings as the titular Teenage Feminist, the film uses music and scenes from "Free to Be… You and Me", archival footage from dated educational movies and home videos of Shechter as a teenager.
Pauline (Valérie Mairesse), a schoolgirl studying for her baccalaureate, wanders into a gallery and recognizes an old friend, Suzanne (Thérèse Liotard), in one of the photographs displayed. Suzanne has two children with the photographer and is expecting a third which she cannot afford to keep. In order to help raise funds for an abortion, Pauline lies to her parents about a school trip, and when they find out, she leaves home and begins working as a singer. The photographer commits suicide and Suzanne moves away to live with her parents on their farm. The two women lose touch for ten years but are reunited at a demonstration in 1972 and begin to correspond by postcard. Pauline, now known as Pomme, moves to Iran with her boyfriend Darius (Ali Rafie), but becomes dissatisfied with her life there and returns to France. Suzanne leaves the farm and opens a family planning clinic in Hyères, where she marries a local doctor.
Aatma (Hariharan) is an international fusion singer and social activist, who protests for the emancipation of women and writes books on the subject. His latest book, Marana Sasanam, proves to be controversial and subsequently leads to him being put under house arrest. Through a flashback to visiting students, he narrates the story of the Indian village girl Jyoti (Kushboo) who gets married and then widowed in her formative years, resulting in her dropping out of education. She then gets married to a wealthy NRI, Shyam (Riyaz Khan), and leaves India to head to Canada.
Repères biographiques sur l'artiste mexicaine Frida Kahlo (1907-1954). Ses souvenirs d'enfance, ses souvenirs douloureux aussi : la poliomyélite qui, à l'âge de six ans, atrophie sa jambe droite, son terrible accident d'autobus en 1925, ses fausses couches, les interventions chirurgicales incessantes. La peinture devient le combat de son existence. Elle rencontre le muraliste Diego Rivera qu'elle admire et qu'elle épouse en 1929 : une relation complexe et tumultueuse. Son adhésion aux idées communistes Sa vision du peuple mexicain et de son folklore. Ses références à la culture amérindienne. Sa relation avec le révolutionnaire russe, pourchassé par Staline, Léon Trotski, accueilli avec son épouse, en 1937, dans sa maison familiale, la Casa Azul. Son œuvre picturale reflétant, tout à la fois, son exubérance et son désespoir. Voici le premier passage d'un texte qui, à la façon d'un prologue-résumé du sujet, apparaît dans le film : « De son lit de moribonde, Frida Kahlo, la grande artiste-peintre, reconstruit, en suivant les palpitations authentiques de sa mémoire, c'est-à-dire, de manière décousue et fragmentée, uniquement à travers les images, sa vie et son œuvre incontournable de l'époque du muralisme mexicain.
The plot of the animated production is in most respects similar to that of the book, which was already styled as a classic children's novel, and so is adapted in that vein for a younger audience; but certain plot points are significantly compressed due to the time limitations of the format. In addition, certain scenes are obviously edited for commercial breaks. In general, alterations include simple omission of additional detail, as the producers expressed their desire to adhere to the written text, including lyrics adapted from the songs in the book but in much longer and greater format.
The 1952 segment deals with Claire Donnelly (Demi Moore), a widowed nurse living in suburban Chicago, who becomes pregnant by her brother-in-law (Jason London) and decides to undergo abortion in order not to hurt her late husband's family. However, abortion at the time is strictly illegal. Claire eventually finds another nurse (CCH Pounder) who provides her the phone number of a woman who can find her someone to perform the abortion. The woman on the phone tells Claire that the only trustworthy abortionist she knows is located in Puerto Rico, and Claire cannot afford the travel costs. After a failed attempt to end her pregnancy with a knitting needle, Claire eventually contacts a man who comes to her home and performs a clandestine procedure on her while she lies on top of a kitchen table. Claire finally manages to abort, but dies shortly afterwards due to hemorrhage.