7 Standout Films Directed By Women You Need To Add To Your Watch List

Women writing stories about women will always hit different. It feels close to home as it often comes from firsthand experiences. When another woman tells these stories, it feels personal and lived, which means the assignment was definitely understood when translating them into movies.

This International Women's Month, one of the best ways to celebrate is by watching stories that spotlight women—their struggles, triumphs, friendships, and everything in between.

Each film on this list offers a unique look into the many layers of womanhood. From coming-of-age classics to bold modern heroines, we have rounded up these women-centered films that you shouldn't miss. Check them out below:

We often hear stories about William Shakespeare and the legacy he left behind for centuries to come, but have we ever heard about the woman who was by his side during his formative years? Hamnet (2025) gives us that perspective. The film dramatizes the family life of William and Agnes as they cope with the death of their 11-year-old son, Hamnet, which later inspired the creation of Hamlet. At its heart, Agnes emerges as a compelling figure who is a healer, deeply attuned to nature, and a woman whose quiet emotional strength carries the weight of profound grief.

The director of this film, Chloé Zhao, attended a women's college in Massachusetts. Recently, at the Oscars 2026, Zhao directed Best Actress Jessie Buckley in her role as Agnes in Hamnet, making her the first woman to direct two Best Actress winners; the previous winner was Frances McDormand in Nomadland (2020).

A Hollywood reporter once regarded this movie as the first account of war from a female perspective. For Sama (2019) is a love letter from a mother to her daughter, disguised as a documentary. This film is a true-to-life documentary of the journalist, Waad al-Kateab, during her five years of the uprising in Aleppo, Syria. A documentation of her life from falling in love, getting married, to eventually giving birth to her daughter Sama, while conflict around her is happening. 

Waad al-Kateab is a Syrian activist, journalist, and filmmaker who highlights the impact of the Syrian Revolution. This movie received international acclaim, including an Academy Award nomination for Best Documentary Feature, for which she co-directed with Edward Watts. What made this film stand out is the civilians' personal perspectives during the conflict and the courage they show daily to survive the war. 

When it comes to Filipino classics that highlight women's roles in fighting for freedom and challenging traditional norms of femininity, Ka Oryang (2011) will surely be at the top of the list. This horror drama movie shows women as independently strong beings who bravely confront military abuse and mistreatment through writing poems and recording women's sufferings in a secret journal. 

Sari Dalena, the visionary behind this film, is a multi-awarded filmmaker whose work often focuses on reclaiming the erased "herstory" of the Philippines, transforming film into a form of historical labor that surfaces the unrecorded struggles of women. Much like Ka Oryang and other works such as The Women of Malolos (2014), Dalena's storytelling refuses to view women as mere secondary figures or collateral in history. Instead, she portrays them as central agents of revolution and resistance.

Another coming-of-age film, this time emphasizing little Anita, who discovers her true identity through a mysterious town visitor named Pilar. Ang Huling Cha Cha ni Anita (2013) is a story of sexual awakening and pubescent rebellion, pointing to the acceptance of lesbians within the community. Beyond gender narratives, this film also portrays a young girl's transition into womanhood as she encounters the changes and emotions of puberty. 

Sigrid Andrea Bernardo is widely known for her film Kita Kita (2017). Beyond that, many of her works stress women and their stories. In 2026, she is set to release a girl's love (GL) film titled I Fell, It's Fine, starring Rhian Ramos and Glaiza de Castro, continuing her exploration of themes such as love and acceptance.

Sunshine (2024) follows the story of a 19-year-old gymnast whose Olympic dreams are jeopardized when she discovers she is pregnant just a week before national tryouts. Faced with an indifferent partner and a society where reproductive rights are restricted, Sunshine embarks on a harrowing journey in the dark corners of Manila to seek an illegal abortion. 

Antionnette Jadaone is recognized for pushing past societal norms for women in the Philippines, starting with her movie Fangirl (2020) and continuing with Sunshine. Her belief that women-centered narratives are always relevant and necessary is evident in her films, which tackle pressing issues such as the need for comprehensive sex education, the legality of abortion, and teenage pregnancy.

The Hollywood film The Bride! (2026) reimagines the classic tale, following a lonely, century-old Frankenstein who attempts to create the perfect companion from the remains of a murdered socialite. However, she refuses to belong to anyone, seeking autonomy instead. Her rebellion ignites a violent crime spree that unexpectedly sparks a radical cultural movement among the women of her era.

Maggie Gyllenhaal conceived the idea after noticing a tattoo of the Bride of Frankenstein at an Academy Awards party. She was struck by how a character with minimal screen time could wield such a lasting impact in pop culture. Rather than depicting a creation who submits to her maker, Maggie chose to craft a character who embodies autonomy, intelligence, and vulnerability, a modern representation of womanhood that resonates today.

Finally, the upcoming Filipino film Midnight Dancers (2026) follows the lives of four Filipina women working in a nightclub in Japan, where they entertain clients while leaning on one another for moral support. This film features their journey and sacrifices as they endure various challenges to build better lives in the future, risking everything as overseas Filipino workers.

The director of this film, Irene Emma Villamor, has made a name for herself in Philippine cinema through nuanced portrayals of women and characters that feel real and relatable. She also directed the famous Sid & Aya: Not a Love Story (2018) and The Loved One, in which female leads often challenge traditional narratives for women.