Post-credit scenes: results for “tag: women”

Image for My Sole Desire (2023), a film with no post-credit data.

When aimless Manon begins work at À mon seul désir, a strip club that offers high concept performances, she instantly bonds with her fellow strippers, particularly Mia, an aspiring actress with a boyfriend and child. Manon learns that it is “not easy money, but fast money” and when she finds herself falling for Mia, she is forced to question her priorities as she explores her newfound erotic life.

Writing with Fire (2021) poster. Still unanswered: is there a scene after the credits?

In a cluttered news landscape dominated by men, emerges India’s only newspaper run by Dalit women. Armed with smartphones, Chief Reporter Meera and her journalists break traditions on the frontlines of India’s biggest issues and within the confines of their own homes, redefining what it means to be powerful.

The World Facing Us: ICE, the Manhunt (2026). Nobody has said whether there is anything after the credits.

ICE: three letters long unfamiliar to the general public. Established in 2003 in response to the 9/11 attacks, this federal agency—part of the Department of Homeland Security (DHS)—is responsible for enforcing immigration and customs laws.

Poster art for Women in Trouble (2009), an open question on post-credit scenes.

Several women (and one girl) in L.A. are hiding something from someone else, or discovering something hidden from them. Maxine, a therapist, discovers her husband cheating on her with the mother of Charlotte, a 13-year old patient. Addy (the other woman) and her sister Doris have withheld from the girl the truth of her parentage. Holly, an adult film actor, isn't telling her friend Bambi how she feels about her, and another actor, Elektra, who discovers she's pregnant, hasn't told the baby's father that she loves him. A stuck elevator, a car crash, mid-air turbulence, a flight attendant, a shotgun-wielding bartender, and her roommate, who's a masseuse, help these women communicate.

Movie art for The Sweetness of Bitter Things (2026), post-credit scene unknown.

In rural Macedonia, Dora, a middle-aged doctor, has built her life around duty – to her distant husband, troubled daughter, and ailing mother. When an injured young woman is brought into her home, caring for her awakens a desire Dora has suppressed for decades. Their growing intimacy becomes a secret affair, slowly destabilising the life she has worked so hard to preserve.

Film poster, Epitaph (2026). No post-credit verdict yet.

A solitary young woman living with her dog becomes the target of neighbourhood slander. Her sudden suicide—and the earlier discovery of a dead foetus—fuels harsher speculation. Two neighbouring families, a young couple and an elderly father with his bedridden daughter, confront their own fears while discussing her fate. Her ambiguous life and death expose a society quick to judge independent women yet capable of rare empathy.

Movie art for Christmas Under Wraps (2014), post-credit scene unknown.

When a driven doctor doesn't get the prestigious position she planned for, she unexpectedly finds herself moving to a remote Alaskan town. While she meets the locals and even starts a new romance, she has to learn to let the life she planned for give way to a love she never could have imagined, and finds this festive small town is hiding one big holiday secret.

Poster for The Gypsy Camp Vanishes Into the Blue (1976), blank on post-credit scenes.

This colourful, music-filled and sensual melodrama based on early stories by Maxim Gorky tells the fatal love story between the beautiful and rebellious girl Rada and the handsome horse thief Zobar. The story is set in early 20th century Bessarabia, now part of Moldova, then belonging to the Austro-Hungarian Empire.

Film artwork for Our Body (2023), no verdict on the credits.

In a Parisian public hospital, Claire Simon questions what it means to live in women’s bodies, filming their diversity, singularity and their beauty in all stages throughout life. Unique stories of desires, fears and struggles unfold, including the one of the filmmaker herself.

The Huntress (2026) poster. Still unanswered: is there a scene after the credits?

In the border city of Juárez, México, where violence against women is perpetrated with impunity, an unlikely defender emerges with a desperate call for change. Inspired by true events.

Glorious Summer (2026). Nobody has said whether there is anything after the credits.

Hot summer, Renaissance palace. Three women remain in a carefree state of limbo, and an enigmatic system fulfills all their life needs – it provides food, entertainment and development. There is one condition – they are not allowed to cross the wall that surrounds their place. From under the idyllic picture, the other, darker side of the new reality quickly shines through.

Poma Maura (2025). Nobody has said whether there is anything after the credits.

One ordinary morning, a 10-year-old girl is surprised by the arrival of her first period.Therefore, through the metaphor established between our protagonist and an apple, the social pressures placed on girls from this moment in their lives are shown, with the help of a poem recited by the same girl 10 years later.

Poster, Knot (2025). Nobody has voted on this one.

Glória manages to get a divorce and moves away, taking her daughters and the desire to start over. As she tries to turn the new house into a home and her body into a place of belonging, she faces, on the factory floor, a delicate competition for a supervisor position between colleagues and her best friend. Courage takes shape as anguish seeps into the flesh.

Poster for Supermarket Affairs (2023), awaiting its first vote.

A Vietnamese immigrant mother and daughter in the US argue over how to honor the late patriarch as they shop for his second death anniversary, and inadvertently involve a handsome stranger at the local Asian supermarket.

JOHN (2026). Nobody has said whether there is anything after the credits.

After mistreatment at her law firm, a black female lawyer disguises herself as a white man.

Sisa (2026) artwork. Still a mystery after the credits.

The Philippines, 1902. The land is raw, wounded, occupied. Smoke clings to the trees. Blood soaks the soil. The war is over – but the violence lingers. Widows fill the villages. Mothers vanish into silence. Among them walks Sisa, barefoot and broken, dismissed as mad by those who fear what they don't understand. But madness is only the surface.

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