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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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