“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

《化妆间》(The Powder Room)
女人故事 #1

by Zoe Cassavetes

2

木塔(MUTA)
女人故事 #2

由導演盧奎西亞‧馬特爾(LUCRECIA MARTEL)執導 

3

「女性服裝」
女人故事 #3

由Giada Colagrande執導

4

「天色已晚」
女人故事 #4

由 Massy Tadjedin 執導

5

#5 「門」
女人故事 #5

由Ava Du Vernay執導

6

《LE DONNE DELLA VUCCIRIA》
女人故事 #6

由希安‧阿巴斯執導

7

「Spark and Light」
女人故事 #7

by So Yong Kim

8

「Somebody」
女人故事 #8

由Miranda July執導

9

「De Djess」
女人故事 #9

by Alice Rohrwacher

10

"Les 3 Boutons"
女人故事 #10

by Agnès Varda

11

「種子」
女人故事 #11

由河瀨直美導演

12

"That One Day"
女人故事 #12

directed by Crystal Moselle

13

"Carmen"
女人故事 #13

directed by Chloë Sevigny

14

(The [End) of History Illusion]
女人故事 #14

directed by Celia Rowlson-Hall

15

"Hello Apartment"
女人故事 #15

directed by Dakota Fanning