This special issue posits German cinema as a key site for the theorization of women’s film authorship and feminist film production today. Since German unification, many of the gains achieved during the feminist film movement of the 1970s have been undone, not least as a result of the dismantling of redistributive funding policies in the face of the global free market. Yet the rise of the Berlin School, the development of production collectives fostering women’s filmmaking, and the Pro Quote Film movement promoting gender parity in the film industry through quotas makes the time ripe for a reconsideration of the relations between aesthetic form and the material conditions of women’s filmmaking in Germany.