Title: Masculin Féminin
Content:  Masculin Féminin (Masculin féminin: 15 faits précis,, "Masculine Feminine: 15 Specific Events") is a 1966 French New Wave romantic drama film directed by Jean-Luc Godard. An international co-production between France and Sweden, the film stars Jean-Pierre Léaud, Chantal Goya, Marlène Jobert, Catherine-Isabelle Duport, and Michel Debord. Léaud plays Paul, a romantic young idealist who chases budding pop star Madeleine (played by Goya, a real-life yé-yé girl). Despite markedly different musical tastes and political leanings, the two soon become romantically involved and begin a ménage à quatre with Madeleine's two roommates, Catherine (Duport) and Elisabeth (Jobert). The camera probes the young actors 
Title: Féminin/Féminin
Content:  Féminin/Féminin is a 2014 French Canadian web series about the lives of six lesbians living in Montreal. It was created by director Chloé Robichaud and Florence Gagnon (president of the LezSpreadTheWord website). The first episode was posted on LezSpreadTheWord.com in early 2014 and the remaining 7 episodes were made available in June 2014 on the website femininfeminin.com. All episodes were written and directed by Robichaud. In 2016, the series appeared on ICI ARTV.
Title: Gillian Flynn
Content: Stratton, Beth. "Altering the Hypermasculine through the Feminine: Female Masculinity in Gillian Flynn's Gone Girl." Clues: A Journal of Detection, vol. 38, no. 1, 2020, pp. 19–27. 
Title: To Write Like a Woman
Content:  To Write Like a Woman: Essays in Feminism and Science Fiction is a collection of essays by Joanna Russ, published in 1995. Many of the essays previously appeared as letters, in anthologies, or in journals like Science Fiction Studies, Extrapolation, and Chrysalis. Topics range from the work of specific authors to major trends in feminism and science fiction. Through all of these different topics, Russ underlines the importance of celebrating the work of female authors and turning a critical eye on the commentaries and work produced by men. The collection is split up into two sections. Part One focuses on the critique of masculinist writing and male authorship, while Part Two focuses on the work of female authors and their relationship to writing.
Title: The Female Man
Content:  The Female Man is a feminist science fiction novel by American writer Joanna Russ. It was originally written in 1970 and first published in 1975 by Bantam Books. Russ was an avid feminist and challenged sexist views during the 1970s with her novels, short stories, and nonfiction works. These works include We Who Are About To..., "When It Changed", and What Are We Fighting For?: Sex, Race, Class, and the Future of Feminism. The novel follows the lives of four women living in parallel worlds that differ in time and place. When they cross over to each other's worlds, their 
Title: Écriture féminine
Content:  Écriture féminine, or "women's writing", is a term coined by French feminist and literary theorist Hélène Cixous in her 1975 essay "The Laugh of the Medusa". Cixous aimed to establish a genre of literary writing that deviates from traditional masculine styles of writing, one which examines the relationship between the cultural and psychological inscription of the female body and female difference in language and text. This strand of feminist literary theory originated in France in the early 1970s through the works of Cixous and other theorists including Luce Irigaray, Chantal Chawaf, Catherine Clément, and Julia Kristeva  and has subsequently been expanded upon by writers such as psychoanalytic theorist Bracha Ettinger. who emerged in this field in the early 1990s, Écriture féminine as a theory foregrounds the importance of language for 
Title: Masculin Féminin
Content:  a series of vérité-style interviews about love, lovemaking, and politics. At times the main story is interrupted by various sequences and sub-plots, including a scene paraphrased from LeRoi Jones' play Dutchman. Masculin Féminin is considered by some critics to be representative of 1960s France and Paris. The film contains references to various pop culture icons and political figures of the time, such as Charles de Gaulle, André Malraux, James Bond, and Bob Dylan. Arguably the most famous quotation from the film is "This film could be called The Children of Marx and Coca-Cola", which is actually an intertitle between chapters.
Title: Feminist science fiction
Content:  During the 1920s and 1930s, many popular pulp science fiction magazines exaggerated views of masculinity and featured portrayals of women that were perceived as sexist. These views would be subtly satirized by Stella Gibbons in Cold Comfort Farm (1932) and much later by Margaret Atwood in The Blind Assassin (2000). As early as 1920, however, women writers of this time, such as Clare Winger Harris ("The Runaway World," 1926) and Gertrude Barrows Bennett (Claimed, 1920), published science fiction stories written from female perspectives and occasionally dealt with gender and sexuality based topics. John Wyndham, writing under his early pen-name of John Beynon Harris, was a rare pulp writer to 
Title: Écriture féminine
Content:  Hélène Cixous first coined écriture féminine in her essay "The Laugh of the Medusa" (1975), where she asserts "woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression. Inspired by Cixous' essay, a recent book titled Laughing with Medusa (2006) analyzes the collective work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous. These writers are as a whole referred to by Anglophones as "the French feminists," though Mary Klages, Associate Professor in the English Department at the University of Colorado at Boulder, has pointed out that 
Title: The French Lieutenant's Woman
Content:  also notes that, despite Fowles' attempts to critique masculine values, his novels remain male fantasies demonstrative of the "compromises and contradictions" created by the gendered situation in which he was writing. Other literary critics, such as William Palmer, Peter Conradi, Bruce Woodcock and Pamela Cooper, have also critiqued Fowles' claims to a feminist perspective and representation. Fowles's presentation of Sarah, one of the most enigmatic female characters in literary history, is also psychoanalytically informed. Fowles himself was interested in the psychology of men and women. The enigma of femininity, myth of masculinity, and impossibility of man-woman relationship are some of the crucial themes. Through Sarah's deliberate spreading of lies about herself and her relationship with Charles, Fowles brilliantly brings about the various aspects of femininity that has the potential to authenticate, threaten, and expose the vanity of the male subjects.

Question: Who was the screenwriter for Féminin, masculin?
Answer: Kiarash Anvari.