The Army nurses on Bataan need help badly, but when it arrives, it sure isn't what they expected. A motley crew, including a Southern belle, a waitress, and a stripper, show up. Many conflicts arise among these women who are thrown together in what is a desperate and ultimately hopeless situation.

Unter der Leitung von Lt. Davidson wird im Dezember 1941 eine Gruppe von neun Krankenschwestern in die Kampfgebiete des Pazifikkrieges abgeordnet. Können sie der Hölle von Corregidor auf dem fernöstlichen Kriegsschauplatz entrinnen?

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.