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New York’s Anthology Film Archives has announced the lineup for its ambitious Woman With a Movie Camera: Female Film Directors Before 1950,” which runs September 15 — 28. Among the spotlighted filmmakers are Gene Gauntier, Lois Weber and Alice Guy-Blaché, though many more will be featured during the two-week series as well. Full lineup below.

“The Girl Spy Before Vicksburg” (Sidney Olcott & Gene Gauntier)

“Further Adventures of the Girl Spy” (Sidney Olcott)

“The Colleen Bawn” (Sidney Olcott & Gene Gauntier)

“Broadway Love” (Ida May Park)

“The Adventures of Prince Achmed” (Lotte Reiniger)

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“The Rosary” and “Suspense” (Lois Weber & Phillips Smalley)

“Shoes” (Lois Weber)

“The Holy Night” (Elvira Notari)

“Humankind” (Elvira Giallanella)

“The Drunken Mattress” (Alice Guy-Blaché)

“The Strike” (Alice Guy-Blaché)

“The New Love and the Old” (Alice Guy-Blaché)

“The Roads That Lead Home” (Alice Guy-Blaché)

“The...

Gender roles and social hypocrisy in ‘The Girl in Tails’ (photo: Einar Axelsson and Magda Holm in ‘The Girl in Tails’) Poor Katja Kock (Magda Holm)! She spends most of her time serving others: sewing and mending for her brother (Erik Zetterström), humoring her grouchy father (Nils Aréhn), and tutoring Count Ludwig (Einar Axelsson) in his studies. Her brother gets all the attention and all the new clothes, while Katja has to be content to look like a scrubwoman in her ragged old dresses. When the Count passes his exams — thanks to Katja — he plans a summer party. Katja’s father refuses to buy her any new clothes for the occasion, so she breaks all social conventions by showing up wearing her brother’s formal attire. Then the fun begins. Karin Swanström’s The Girl in Tails / Flickan i frack, adapted by Hjalmar Bergman and Ivar Johansson from Bergman’s novel,...

This year's edition of the silent film festival featured Welles' previously-thought-lost Too Much Johnson amid a typically irreverent and varied selection

• Orson Welles's first professional film discovered in an Italian warehouse

• Review: Peter Bradshaw on Blancanieves

The first full day of the 32nd Giornate del Cinema Muto, the world's most prestigious silent-film festival, took place exactly 86 years after The Jazz Singer premiered in New York. There were no mournful faces in the town of Pordenone, Italy, where the Giornate is held, however. In this corner of the world, for one week only, it is not quite as if the talkies never arrived, but rather that they failed to stop the party. Silent cinema continues to reinvent itself, to surprise even its most protective guardians, and to multiply.

The opening gala night of the festival featured a recent film that paid tribute to European silent cinema, Pablo Berger's invigoratingly...