Rosetta is a 1999 French-Belgian film written and directed by the Dardenne brothers. It is about a seventeen-year-old girl (played by Émilie Dequenne) who lives in a trailer park with her alcoholic mother. Trying to survive and to escape her situation, she makes numerous attempts towards securing a job allowing her to move away from the caravan and her dysfunctional mother in order to reach a stable life.

When her probationary employment ends, Rosetta (Émilie Dequenne) causes a violent struggle against her manager and the policemen when she refuses to leave the premises. She returns home to “The Grand Canyon”, the trailer park shared with her alcoholic mother who mends worn clothes for her to sell. Rosetta is also seen laying out traps to catch trout for food. Unable to receive unemployment pay and desperate for work, Rosetta goes around to ask about vacancies until she happens upon a waffle stand. She befriends the worker, Riquet (Fabrizio Rongione), after an inquiry. Rosetta questionably treats her unexplained stomach pains with pain relievers and a hairdryer massaging the area.

Riquet makes an unexpected visit to the trailer park, startling Rosetta. He informs her a coworker was fired and thus she will be able to have a job. Her mother’s promiscuity resulting from alcoholism prompts Rosetta to encourage her to seek a rehabilitation clinic so they can finally have a better life. However, her persistent denial causes her mother to run away. Rosetta decides to stay with Riquet for the night. During the awkward evening, she discovers a waffle iron in his possession. As she lies in bed, she tries to convince herself that her life has started to function normally.

At work, she is replaced after three days by the owner (Olivier Gourmet) because his son failed school, leading to another violent confrontation. Rosetta is moderately pacified when he tells her she will be contacted if an opportunity arises. She begins a new search for employment while keeping Riquet company during work. Riquet falls into the water when he helps Rosetta with her traps. She watches him thrashing in the muddy water and hesitates before helping him out. Later she discovers Riquet has been selling his own waffles during business hours from his offer of an under the table job helping him mix the batter. After some contemplation, she tells the owner. Rosetta looks on as Riquet is thrown out of the stand and is handed his apron. Betrayed and hurt, Riquet chases Rosetta on his moped as she attempts to evade him. Eventually he catches up to her and demands her motive. She states she wanted a job and had no intention of saving him.

Rosetta encounters Riquet as a customer when she begins her first day in his stead. She returns home to find her mother barely conscious and inebriated in front, dragging her inside and putting her to bed. She calls her boss and tells him she will not be at work the next day. She then turn on the gas, and goes to bed, in an attempt to slowly kill herself and her mother. The gas runs out. She goes to the landlord to ask for another one. As she hauls the canister of gas with great difficulty, Riquet on his moped appears to circle around her. Rosetta walks a short distance before collapsing to the ground and cries. Riquet grabs her by the arm to pick her up. She turns around to gaze at him as she slowly regains her composure.

In Belgium the film inspired a new law prohibiting employers from paying teen workers less than the minimum wage and other labor reforms for youth.

http://www.imdb.com/title/tt0200071/

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Offside (Persian: آفساید ‎‎) is a 2006 Iranian film directed by Jafar Panahi, about girls who try to watch a World Cup qualifying match but are forbidden by law because of their sex. Female fans are not allowed to enter football stadiums in Iran on the grounds that there will be a high risk of violence or verbal abuse against them.

A girl disguises herself as a boy to go attend the 2006 World Cup qualifying match between Iran and Bahrain. She travels by bus with a group of male fans, some of whom notice her gender, but do not tell anyone. At the stadium, she persuades a reluctant ticket tout to sell her a ticket; he only agrees to do so at an inflated price. The girl tries to slip through security, but she is spotted and arrested. She is put in a holding pen on the stadium roof with several other women who have also been caught; the pen is frustratingly close to a window onto the match, but the women are at the wrong angle to see it.

The women are guarded by several soldiers, all of whom are just doing their national service; one in particular is a country boy from Tabriz who just wants to return to his farm. The soldiers are bored and do not particularly care whether women should be allowed to attend football matches; however, they guard the women carefully for fear of their “chief”, who could come by at any moment. They occasionally give commentary on the match to the women.

One of the younger girls needs to go to the toilet, but of course there is no women’s toilet in the stadium. A soldier is deputed to escort her to the men’s toilet, which he does by an increasingly farcical process: first disguising her face with a poster of a football star, then throwing a number of angry men out of the toilet and blockading any more from entering. During the chaos, the girl escapes into the stadium, although she returns to the holding pen shortly after as she is worried about the soldier from Tabriz getting into trouble.

Part of the way through the second half of the game, the women are bundled into a bus, along with a boy arrested for carrying fireworks, and the soldiers ordered to drive them to the Vice Squad headquarters. As the bus travels through Tehran, the soldier from Tabriz plays the radio commentary on the match as it concludes. Iran defeats Bahrain 1-0 with a goal from Nosrati just after half time and wild celebrations erupt within the bus as the women and the soldiers cheer and sing with joy. The girl whose story began the film is the only one not happy. When asked why, she explains that she is not really interested in football; she wanted to attend the match because a friend of hers was one of seven people killed in a scuffle during the recent Iran-Japan match, and she wanted to see the match in his memory.

The city of Tehran explodes with festivity, and the bus becomes caught in a traffic jam as a spontaneous street party begins. Borrowing seven sparklers from the boy with the fireworks, the women and the soldiers leave the bus and join the party, holding the sparklers above them.

The film was filmed at an actual stadium during a qualifying match for the Iranian National team. Panahi had two separate outcomes to the film depending on the turnout of the match.

http://www.imdb.com/title/tt0499537/

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Osama (Persian: اسامه‎‎) is a 2003 drama film made in Afghanistan by Siddiq Barmak. The film follows a pre-teen girl living in Afghanistan under the Taliban regime who disguises herself as a boy, Osama, to support her family. It was the first film to be shot entirely in Afghanistan since 1996, when the Taliban régime banned the creation of all films. The film is an international co-production between companies in Afghanistan, the Netherlands, Japan, Ireland, and Iran.
In the film, the Taliban are ruling Afghanistan. Their regime is especially repressive for women, who, among other things, are not allowed to work. This situation becomes difficult for one family consisting solely of three women, representing three successive generations: a young girl, her mother, and her grandmother. With the mother’s husband and uncle dead, having been killed in battle during the Soviet invasion and their civil wars, there are no men left to support the family. The mother had been working as a nurse in a hospital, but the Taliban cut off funding to the hospital, leaving it completely dysfunctional with no medicines and very little equipment. One foreign woman working as a nurse in the hospital is arrested by the Taliban. The mother does some nursing outside the hospital and receives payment from the caretaker of a patient, but after the patient dies the mother cannot find any more work.

The mother and grandmother then make what they feel is the only decision they can to survive: they will have their preteen daughter disguise herself as a boy so that she can get a job to support the family. Osama’s grandmother tells a story to Osama about a boy who changed to a girl when he went under a rainbow, in order to help persuade her to accept the plan. The daughter, feeling powerless, agrees despite being afraid that the Taliban will kill her if they discover her masquerade. Partly as a symbolic measure, the daughter plants a lock of her now cut hair in a flowerpot. The only people outside the family who know of the ruse are the milk vendor who employs the daughter – he who was a friend of her deceased father – and a local boy named Espandi, who recognizes her despite her outward change in appearance. Espandi is the one who renames her Osama. The masquerade becomes more difficult when the Taliban recruit all the local boys for school, which includes military training. At the training school, they are taught how to fight and conduct ablutions, and an ablution is taught to boys that should be done when they experience nocturnal emission or come in contact with their wife when they grow older. Osama attempts to avoid joining the ablution session, and the master grows suspicious of Osama’s gender. Osama realizes it can only be so long before she is found out. Several of the boys begin to pick on her, and although Espandi is at first able to protect her, her secret is eventually discovered when she menstruates.

Osama is arrested and put on trial, along with a Western journalist, and the foreign woman who was arrested in the hospital. The journalist and the nurse are both condemned and put to death, but, as Osama is destitute and helpless, her life is spared; she is instead given in marriage to a much older man. Osama’s new husband already has three wives, all of whom hate him and say he has destroyed their lives. They take pity on Osama, but are powerless to help her. The husband shows Osama the padlocks he uses on his wives’ rooms, reserving the largest for Osama. The film ends with the new husband conducting an ablution in an outdoor bath, which the boys were earlier taught to conduct after coming in contact with their wives.

http://www.imdb.com/title/tt0368913/

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The White Ribbon is a 2009 black-and-white German-language drama film written and directed by Michael Haneke Das weiße Band, Eine deutsche Kindergeschichte, “The White Ribbon, a German Children’s Story”, darkly depicts society and family in a northern German village just before World War I and, according to Haneke, “is about the roots of evil. Whether it’s religious or political terrorism, it’s the same thing.”

The film premiered at the 62nd Cannes Film Festival in May 2009 where it won the Palme d’Or, followed by positive reviews and several other major awards, including the 2010 Golden Globe Award for Best Foreign Language Film. The film also received two nominations at the 82nd Academy Awards in 2009: Best Foreign Language Film (representing Germany) and Best Cinematography (Christian Berger).

In Oberösterreichische Nachrichten, Julia Evers called the film “an oppressive and impressive moral painting, in which neither the audience nor the people in the village find an escape valve from the web of authority, hierarchy and violence. […] Everything in The White Ribbon is true. And that is why it is so difficult to bear.”

Markus Keuschnigg of Die Presse praised the “sober cinematography” along with the pacing of the narrative. Keuschnigg opposed any claims about the director being cold and cynical, instead hailing him as uncompromising and sincerely humanistic. Die Welt’s Peter Zander compared The White Ribbon to Haneke’s previous films Benny’s Video and Funny Games, both centering around the theme of violence. Zander concluded that while the violence in the previous films had seemed distant and constructed, The White Ribbon demonstrates how it is a part of our reality. Zander also applauded the “perfectly cast children”, whom he held as “the real stars of this film”.

“Mighty, monolithic and fearsome it stands in the cinema landscape. A horror drama, free from horror images”, Christian Buß wrote in Der Spiegel, and expressed delight in how the film deviates from the conventions of contemporary German cinema: “Director Michael Haneke forces us to learn how to see again”.

http://www.imdb.com/title/tt1149362/

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