In Kivu (Democratic Republic of Congo), one of the most violent regions in the world, a group of women arrives at Panzi Hospital after being gang-raped by the guerrillas in the area who control the mineral resources. Their psychological treatment before reintegration confronts them with the dilemma of accepting the babies they have given birth to as a result of the rapes, finding in the question of motherhood a way to resist.

Dreamy animated images in detailed henna painting and atmospheric watercolours dominate a young Spanish artist’s moving journey of discovery. In a small bookshop in India, Inés comes across the feminist-utopian science fiction story “Sultana’s Dream.” It is about the terrible revenge on men, the bookseller explains. In the slim volume she wrote in 1905, Rokeya Hossain describes the fantasy realm of Ladyland – a land in which women are self-determined and live in peace, in which they run all government affairs and all forms of education are open to them. And the men? Their place in Ladyland, the bookseller continues, is where they belong: locked up at home. Fascinated by the literary “painting” of this place and its inventor, Inés sets out in the footsteps of the writer and teacher Hossain, who championed education and equal rights for Indian girls and women as early as the beginning of the 20th century. The trip takes the Spaniard across contemporary India. Her companions are the dreams of Ladyland – and the utterly different realities of the lives of the women she meets on her journey. 源自：

The world is a wonderful stage, but its characters are disgraceful.