The female struggle implies the black struggle, it implies the struggle with anti-Semitism, it implies all of the other struggles. That is the only possible way to think about human liberation.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.

To me there is an intimate relationship between austerity and more lush aesthetics. They're two faces of the same coin.

The female struggle implies the black struggle, it implies the struggle with anti-Semitism, it implies all of the other struggles. That is the only possible way to think about human liberation.

You can't really divorce women's struggles in the world from women's in the cinema. As long as there's hierarchy it means that women are somehow secondary or second class or less than. That's going to be reflected in movies because films are the most powerful medium to reflect back society's view of itself

I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

Between the postwar fifties - domesticity, people happy to be alive after the Second World War, wanting to build a home, make a family, make a nest. Women were pushed back into the home after having been active in the Second World War. It was a big Doris Day moment for women, which didn't suit all women.