The film is a personal search for traces of the feminist movement of the 70s in today’s art. As a young artist, Gittan Jönsson was active in groups criticising the absence of women in the public artscene. They fought for equal conditions and an expanded concept of art through actions like the Festival of Women’s Culture at the Old Parliament House in 1977 and We Work for Life at Liljevalch’s in 1980.

When Jönsson moves to Berlin later in life she is surprised by male dominance in the German artscene, which is reminiscent of the situation in Stockholm in the 70s. When she meets her old colleagues, shared memories of an euphoric time as activists awaken in them all.

The film ties a group of younger artists in Berlin, members of an international network, ff, with the older artists in Stockholm. Conversations transcend time and space when the women in Berlin and Stockholm show their art and share their experiences and strategies within the patriarchy.

As well as interviews in the studios of artists Lotta Hagerman, Barbro Hedström, and Kristina Abelli Elander in Stockholm, and Antje Majewskij, Mathilde ter Hejne and Ulrika Segerberg in Berlin, the film includes archive material, private photos and film sequences from SVT. It also shows a feminist performance festival, Temporary Autonomous Zone in Warsaw 2014.

The film clearly shows how the intensive fight in the 70s was soon forgotten. This is also the case with the large women’s exhibition in Berlin, 1977, Künstlerinnen International, which appears towardthe end of the film.

The film asks, “Has the journey to equality in art stopped completely?”.

Quote Caroline Söderholm, in Sydsvenskan, 2018:

“It is an important film, as a historical document and as the starting point for an urgent and current conversation. Above all, it is full of acute reflection over the battle that the women’s movement of the 1970s thought had been won, but which the #metoo movement clearly indicates must be fought again. There is just one thing to say: see it!”