I Only Had to Say

In Our Mothers' Gardens celebrates the strength and resiliency of Black women and Black families through the complex, and often times humorous, relationship between mothers and daughters.

Through a series of extraordinarily honest and intimate conversations, filmmaker Aurora Brachman examines the intergenerational fallout of experiences her mother endured as a child. Together, they forge a path forward that offers them a new beginning.

Charlotte Gainsbourg looks at her mother Jane Birkin in a way she never did, overcoming a sense of reserve. Using a camera lens, they expose themselves to each other, begin to step back, leaving space for a mother-daughter relationship.

Edie Bouvier Beale and her mother, Edith, two aging, eccentric relatives of Jackie Kennedy Onassis, are the sole inhabitants of a Long Island estate. The women reveal themselves to be misfits with outsized, engaging personalities. Much of the conversation is centered on their pasts, as mother and daughter now rarely leave home.

In 2007, fifteen-year-old Chaeyoung is diagnosed with anorexia and committed to a mental hospital. Feeling guilty, her mother, Sangok, tries to trace the source of her daughter’s illness but there is no way to know. Ten years later, the mother and daughter begin a conversation. Relying on Chaeyoung’s diary, drawings, and voice-over, the film explores the history of conflict and pain in mother-daughter relationships through three generations: grandmother, mother, and daughter.

British documentarian Nick Broomfield creates a follow-up piece to his 1992 documentary of the serial killer Aileen Wuornos, a highway prostitute who was convicted of killing six men in Florida between 1989 and 1990. Interviewing an increasingly mentally unstable Wuornos, Broomfield captures the distorted mind of a murderer whom the state of Florida deems of sound mind -- and therefore fit to execute. Throughout the film, Broomfield includes footage of his testimony at Wuornos' trial.

Intoxicants offered Pinja a connection to her mother. What will their lives be based on when they both decide to get sober?

Biggi lives with her two daughters, four dogs and her exboyfriend Alfred on a dilapidated farm in a small village in Saxony-Anhalt. Biggi and Alfred are out of work and they live very modestly. The 14 and 17 year-old daughters Saskia and Denise should really go to school, but there are always reasons for them to stay at home. This gives rise to tension with Alfred. We accompany them during their conflict-ridden everyday lives and learn something about their dreams, fears and hopes. And how difficult it is to break out of a circle.

Filmmaker Stephanie Wang-Breal sets out to cross the generational divide, confronting long-simmering tensions with her Chinese immigrant mother by literally becoming her. Dressing in her mom’s iconic St John Knit power suits and re-creating her 1980s local TV cooking show, Stephanie becomes Beta-Florence, a radical reinterpretation of Asian-American identity.