We are coming, chronicle of a feminist revolution

A feature documentary by Nina Faure

1h27 – Color – Stereo
France, Belgium – 2022
Producer Annie Gonzalez, C-P Productions and Isabel de la Serna, Playtime Films
Available in French, French SDH, English, Spanish

Image : Sarah Blum
Sound : Mariette Mathieu-Goudier
Editor : Lenka Fillnerova, Céline Kélépikis

A new generation is politicizing the issues surrounding the body, sexuality and gender relations. For two friends, Nina and Yéléna, it starts with an awareness. With a few others, they ask themselves why, in a society that claims that gender equality is already here, access to pleasure is so difficult. They organized discussion groups, discovered Our Bodies, Ourselves, a historical feminist manual that opened new doors of analysis. They met with teachers, educators and sociologists to draw up step by step what would end up being a real plan. More and more involved in the struggles that are taking place everywhere, at the heart of this feminist movement that is sweeping the world, they discover a pleasure that was unsuspected until now, that of pursuing a collective emancipation. The pleasure of abolishing patriarchy, quite simply.


Festival Résistances (Foix), Echos d’ici échos d’ailleurs (Labastide-Rouairoux), Chéries-Chéris festival du film LGBTQ+++ (Paris), Écrans mixtes (Lyon), Elles Tournent (Bruxelles), Écrans du doc (Lyon)


This documentary, filmed in direct cinema, is a witness to an era. The director starts filming some discussions with her friends, in 2014, at the moment when they become aware of the medical gaps around the anatomy of the clitoris. They want to make a film about pleasure, they feel that something is wrong. A chronicle begins, which will continue for several years during which they discover to be part of a large-scale movement. The fight against sexual violence takes center stage with #MeToo, the demonstrations gather tens of thousands of people. As they meet, their reflections progress, towards a profound questioning of the exploitation of women’s work, which mixes issues of race and class. How to put an end to this exploitation? With sociologists, activists, teachers, new narratives emerge, which go beyond the gender binarity. Would feminist movements be able to open breaches in a system that seemed immutable? We are coming is the witness of a decade of struggle as much as it carries the hope of a real transformation. It is a rare cinematographic object, which combines the cinema of the intimate and the social chronicle, with a personal glance, sometimes with humor, sometimes more emotionnal, about one of the most important struggles of our time.

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