“We understand this political climate has turned your world upside down,” the 1950s TV-ad voice-over tells you. “Underground shelter is your best defense against radioactive fallout.” Cue perky music, tap dancing twins, and a ballerina that bakes the perfect croissant. Welcome to your new luxury home - buried 26 feet below. Complete with mini-golf course, dance floor, swimming pool, two jacuzzis, and a thoroughly modern mermaid. “This is reality.” That is, until the nuclear siren rings.

(The [End) of History Illusion], by Celia Rowlson-Hall, is the 14th commission from Miu Miu Women’s Tales. The acclaimed short-film series invites today’s most profound and original female directors to investigate vanity and femininity in the 21st century.

Dancer/choreographer/filmmaker Celia Rowlson-Hall is best known for her iconic choreography in the hit TV show Girls; her work on music videos by Alicia Keys and MGMT; her sweet, sad shorts, such as The Audition and Prom Night; and the 2015 feature, MA, a contemporary, wordless re-telling of Virgin Mary’s venture, through deserts and dirt-tracks. Filmmaker Magazine says Rowlson-Hall “folds one art form into another” and “allows her to employ her body as a storytelling vehicle.”

"About her new Women’s Tales film, Rowlson-Hall says, “I wanted to explore commercialism in the face of fear, creating a spectacle to distract and entertain, an escape from our present day reality.” She knew the perfect readymade setting: a Cold War era, Las Vegas nuclear bunker, which was shaped into a picturesque family home, designed to survive a nuclear war for an entire year. “When I saw the new Miu Miu collection,” reflects Rowlson-Hall, “there was something about the textiles and colours that made me want to create characters which could come with this space.”

These characters slowly come apart in (The [End) of History Illusion] as the cataclysmic events above ground take their toll below. This pastel-hued community can no longer sustain the Hollywood musical illusion. A new reality breeds chaos and confusion. The spirit of the film takes inspiration from how Rowlson-Hall thinks of Miu Miu: “elastic, grounded, sensitive and risk taking.”

A new dedicated Instagram platform @miumiuwomenstales has been launched. It provides a complimentary, innovative space of expression that further explores the rich complexities of being a woman.

Women's Tales archive

1

“더 파우더 룸 (The Powder Room)”
우먼스 테일 #1

조 카사베츠

2

“뮤타 (Muta)”
우먼스 테일 #2

루크레시아 마르텔

3

“더 우먼 드레스 (The Woman Dress)”
우먼스 테일 #3

지아다 콜라그란데

4

“ 잇츠 게팅 레이트 (It’s Getting Late)”
우먼스 테일 #4

마시 태지딘

5

“더 도어 (The Door)”
우먼스 테일 #5

아바 듀버네이

6

“르 돈느 델라 부치리아 (Le donne della vucciria)”
우먼스 테일 #6

히암 압바스

7

“스파크 앤 라이트 (Spark and Light)”
우먼스 테일 #7

감독 김소영

8

“썸바디 (Somebody)”
우먼스 테일 #8

감독 미란다 줄라이 (Miranda July)

9

“데 드제스(De Djess)”
우먼스 테일 #9

감독 엘리스 로르와처 (Alice Rohrwacher)

10

“레스 3 보톤스 (Les 3 Boutons)”
우먼스 테일 #10

감독 아그네스 바르다 (Agnes Varda)

11

씨앗(Seed)
우먼스 테일 #11

가와세 나오미(Naomi Kawase)가

12

“댓 원 데이 (That one Day)”
우먼스 테일 #12

감독 크리스탈 모셀 (Crystal Moselle)

13

"Carmen"
우먼스 테일 #13

감독 끌로에 셰비니 (Chloë Sevigny)

14

“(디 [앤드) 오브 히스토리 일루젼] (The [End) of History Illusion]”
우먼스 테일 #14

감독 첼리아 롤슨 홀 (Celia Rowlson-Hall)

15

"Hello Apartment"
우먼스 테일 #15

감독 다코타 패닝 (Dakota Fanning)