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At the turn of the 21st century, a period in Brazilian film history known as the Renaissance, depictions of rural life - universalized by Amácio Mazzaropi\'s Jeca Tatu since the 1960s - surface in cinema with a new trait: this time, filmic narratives are commanded by female characters - the caipira women -, in films written and directed by women. In this research, we aim to cast light on the representations of caipira culture in Amélia (2000), by Ana Carolina, and A hidden life (2001), by Suzana Amaral. Both films are examined considering if and how the portrayal of caipira, when female-authored, differentiates from traditional images related to a masculinist patriarchal standpoint. Therefore, we propose a filmic analysis of the cinematographic representations of habits, practices and modes of life from rural origins, associated with a comparative analysis of both films and the depiction of caipira women throughout Brazilian art and film history, such as Almeida Júnior\'s paintings and Mazzaropi\'s films. In Amélia, set in 1905, we discuss cultural colonialism as well as the conflict between women from Minas Gerais - the rural dimension, embodied by the three caipiras - and Rio de Janeiro - the cosmopolitan capital, epitomized by the French actress Sarah Bernardt. Whereas in A hidden life we dissertate on the ideal femininity according to the urban bourgeoise expectations, counterposed to the rustic manners of the woman peasant, in addition to the investigation of differences among women such as race and the role in the patriarchal family. Hence, we evaluate the filmic aesthetic strategies conducted by women artists in Brazilian cinema, hoping to explore women\'s regards towards women characters. (AU)