In the late 1980s and early 1990s, independent documentary filmmaking flourished in the People's Republic of China, as Wu Wenguang, Duan Jinchuan, Zhang Yuan, and Jiang Yue launched what is commonly referred to as the Chinese New Documentary Movement. Until the mid-1990s, this movement was dominated by men, but ever since Li Hong's Out of Phoenix Bridge (1997), films by female documentarists like Yang Lina, Liu Xiaojin, and Tang Danhong have focused on the turmoil and uncertainty of life in postsocialist China. Zhang Zhen argues that these contemporary women filmmakers are connected by their focus on issues of social change, particularly their effects on women. This approach diverges from that of their male peers in general, especially the epic and idealistic perspective advocated in Dziga Vertov's concept of “Kino-Eye,” as seen in The Man with a Movie Camera (1929). Accordingly, Zhang calls these documentarists, “women with video cameras.” Continuing to examine female homoeroticism in China’s changing mediascape, this chapter moves from socialist settings to the current postsocialist environment with its “awakening of new desires and identities,” focusing on two independent documentaries made by women: The Box (2001) and Dyke March (2004). While The Box was single-handedly produced, directed, shot, and edited by Echo Y. Windy (Ying Weiwei), Dyke March was a collaborative work by a lesbian couple, Shi Tou and Ming Ming.