The persistence of filmmakers in tackling the subject of the Holocaust over the last seven decades has resulted in an overwhelming body of films, which is continuously expanding. While this body of work is vast and diverse in terms of aesthetic, narrative, generic and ideological approaches, it is possible to trace cycles and patterns which both reflect and respond to particular sets of political, historical, social, commercial and gender-related factors. Crucially, what moulds our collective memory of the Holocaust is not a transparent projection of events, but a complex constellation of ideologies, public memories of the Holocaust, market-driven processes, cultural interpretations and a multitude of other factors. Since the early 1980s, the study of women and the Holocaust has evolved into a distinct academic field. In spite of this, however, the representation of women in Holocaust cinema remains a relatively underresearched domain. The present study addressed this gap, providing substantial knowledge on how women’s experiences have been treated in films dealing with the Nazi persecution. Focusing on fiction films made in Europe between 1945 and the present, this research explores dominant discourses on and cinematic representation of women as victims, resisters and perpetrators. In all three categories, this thesis reveals what aspects of women’s lives during the Holocaust have been exposed, distorted or concealed by cinema.