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Jerusalem
Headlined HRW Film Festival
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By
Dilshad D. Ali |
08/07/2003
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Ford
Transit, one of the films holds special meaning, touching on themes
of land rights, religious discord and daily living in Muslim countries |
As the media public spotlight continues to shine
on the ongoing troubles in the Middle East, the international film industry
offers its own take on the reality that faces those who live in Afghanistan,
Israel, Iran, Iraq and other troubled regions. This year a provocative film from
the Netherlands on Jerusalem’s Hadassah Hospital highlights the 14th
annual Human Rights Watch International Film Festival, which takes place this
month in New York.
The
film uniquely represents the twin themes of the festival: The search for the
“real” story of unsettled regions as well as “reconstruction and
reconciliation in the aftermath of conflict.” It’s another step in the
growing popularity of films on Israel and Palestine (and other regions of the
Middle East), which make up a fourth of the 28 films (from 18 countries) airing
in this year’s festival.
Also
featured in the festival are two works from prominent Palestinian filmmaker Hany
Abu-Assad (who’s Nazareth 2000 premiered at the 2001 HRWIFF). Abu-Assad,
the winner of this year’s Nestor Almendros Prize for “courage and commitment
in human rights’ filmmaking continues to receive international acclaim for his
stimulating storytelling style.
For
Muslim viewers seven of the films hold special meaning, touching on themes of
land rights, religious discord and daily living in Muslim countries. But beyond
these seven are numerous other films, though which don’t have themes or
stories directly related to Muslims, introduce situations and discord of world
significance.
From
War Takes, in which three Columbian filmmakers turn the camera on
themselves to investigate and expose their war-torn country, to When the War
is Over, which follows two former teenage guerrillas in South Africa as they
labor to find a new place in the post-Apartheid atmosphere – these films take
the viewer on a whirlwind journey to the heart of conflict and resolution.
Of
the plethora of film festivals that come to New York every year, the HRWIFF is
unique in its commitment to confrontational and challenging documentaries and
dramas that force viewers to suspend conventional beliefs. Truly one leaves
these films with a greater sense of both sides of the story – whatever that
story may be – in a way general media coverage often cannot do.
The
following list highlights a few films of particular interest to a Muslim
audience:
Welcome
to Hadassah Hospital: From Ramon Gieling of The Netherlands, this
documentary offers an unflinching look at the staff of Hadassah Hospital in
Jerusalem, where victims and perpetrators of suicide attacks are treated side by
side.
Rana’s
Wedding: In this film from Hany Abu-Assad of Palestine, protagonist Rana
suddenly is give an ultimatum by her father one fine morning to choose a husband
from a list of his choosing, or go abroad with him. She chooses a third option
– to sneak out and scour the city to find her love, Khalil, as the clock ticks
away. In facing the obstructions and dangers of the city, Rana learns to grab
destiny and wield it her way.
Ford
Transit: This second film from Hany Abu-Assad tracks cab driver Rajai as he
shuttles his passengers – an eclectic group from filmmaker B.Z. Goldberg
(Promises) to politician Hannan Ashrawi – through the roadblocks of Ramallah
and Jerusalem. Rajai and his passengers banter about their situation and the
conflict between Palestine and Israel.
I’m
Taraneh, 15: In it’s New York premiere, filmmaker Rassul Sadr-Ameli of
Iran offers the story of Taraneh, a young Iranian bound by the rules of Iranian
society. She becomes pregnant by her fiancé, Amir, who ditches her when he
leaves for Germany. Taraneh is determined to figure out a way survive.
Jiyan
(Life): This drama from Iraqi Kurdistan’s Jano Rosebiani brings hero
Diyari back to his homeland after the chemical and biological bombing of Halabja
in Iraqi Kurdistan. He bonds with Jiyan, a mere 10-year-old orphan who survived
the bombing only to be left scarred. Diyari hopes to build an orphanage as a
means to somehow lessen the destruction of the city.
My
Terrorist: Yulie Cohen Gerstel of Israel was wounded in 1978 in a terrorist
attack for the liberation of Palestine (for which the group Popular Front took
credit). As a flight attendant for El Al, her flight was hijacked on its way to
London. Though a staunch Israeli nationalist, now years later she searches for
the roots of violence between Palestinians and Israelis and contemplates
fighting for the release of the terrorist who wounded her. For now Gerstel
believes no one side is to blame.
Scenes
from an Endless War: This U.S. documentary from Norman Cowie is a stinging
mix of commentary, mediation, “rewritten news crawls,” original news footage
that explores President George Bush’s “war on terrorism.” Cowie offers and
alternate perspective on the purported wisdom of American military and global
policies.
The
festival took place at the Walter Reade Theater in Manhattan from June 13 –26th
and is co-presented by the Film Society of the Lincoln Center. From New York it
will travel to other major U.S. cities, including Chicago and San Francisco. For
more information, visit http://www.hrw.org/iff/2003/.
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