Winner of the Best Director Award at the 2012 Sundance Film Festival, MIDDLE OF NOWHERE…
An Oversimplification of Her Beauty • Teaser from Terence Nance • Terence Etc. on Vimeo.…
- Young kid from the hood trying to make good? Check.
- Prerequisite positive rap song that feels like it was pulled from Ghostwriter? Check.
- Street pressures that are easily overcome? Check.
- Mandatory plot for women, involving sexing up your image to get signed to the majors? Check.
But hey, I had just gone through three really depressing movies about the fall out of the drug war. I needed something to lift my spirits, and I will shamelessly admit that I enjoyed Brown Sugar. On the real, Filly Brown could have been a Lifetime produced version of the Somaya Reece story, and I still would have watched it!
Luckily, I was wrong.
Okay, on second thought, I wasn’t that wrong. Two and a half of the four I listed above were in the movie. But the team behind Filly Brown managed to add enough new elements to make the standard tropes feel fresh. Read the Post Sundance Pick: Filly Brown
Writing a good divorce comedy is tougher.
So the fact that Rashida Jones nailed both her performance and her part of the screenplay entire movie is something very special.
Celeste and Jesse Forever follows a long-term couple in the midst of a breakup. Having been best friends for the past twenty years, Celeste (Rashida Jones) and Jesse (Andy Samberg) find themselves divorcing–in spite of their continued chemistry. Celeste, a trends analyst and pop-culture commentator, is the epitome of a responsible business woman. Jesse is an unemployed artist, who spends more time scheming on surfing than actively planning out his life. They bond through some strange shared loves (like masturbating lip glosses, baby corn, and other things that look like tiny penises) but Celeste initiates the divorce since Jesse has failed to grow up. Read the Post Sundance Pick: Celeste and Jesse Forever
Co-directed by Palestinian filmmaker Emad Burnat and Israeli activist Guy Davidi, the images in 5 Broken Cameras are beautiful, haunting, and bring about dozens of other questions about the history of the occupation and the tactics around love and resistance. Thanks to their fabulous publicist Eseel, I got to interview Guy and Emad and ask them about their lives, their work, and what they think the future holds for Israel and Palestine.
Emad: It has been a sometimes good experience, a sometimes bad experience. In 2005, when I started to resist with my village, I decided to film to protect myself and to protect the other protests and to show the footage for other people, and to use the footage sometime to prove what is going on. Over the last seven years, [I documented] how what happened in the village affected me, my family, my children, and my friends, week by week. After many years of documenting, I thought that there was a huge story that I have to tell to other people. We decided to construct a documentary from my personal life and personal story. [5 Broken Cameras] is not a political film or just a film about conflict – it’s a film about life, and how the people can survive and how people live, and how kids grow up. For my kids, everyone loves those boys, and I wanted to make for them a good life, I wanted to take care of them, and protect them. I can’t tie them in the house every day, keep them 24 hours in one room. This is our life, like this. I tried to build for them a good life and a good situation. And I wanted to put my life and my experience in the village in one documentary.
Maybe [other people, in other parts of the world] see footage on the news, but they don’t know the reality and they don’t know the life of these people. I hope that this film does make some change, so we can change the life for everyone – in Palestine and Israel.
Guy: I came to Bil’in in early 2005, one of the first Israeli peace activists that came. I was already interested in what was happening in this movement, I wanted be a part of it. My first main motivation is a bit selfish, it wasn’t just to help the movement – it was also for me. Israel is like a ghetto – it is closed, like a bubble, not sensitive to the others. You’re not allowed to go here, not allowed to go there – so I wanted to break that. I wanted to live in a free way. If we live in a free way, we have to confront the shadows – and what happens in the shadow is in Palestine and the settlements.
So I met Emad. He was a very known character from the start, because he was the only cameraman who was basically staying in the village all the time. He became what we say in the film, “the village’s eye.” So we met many times while filming. We didn’t work together until 2009, when Emad approached me to make the film, so we decided to make it as a personal narrative. When I thought in the beginning to make a film on Bil’in, there were many that were similar. We had to have a new and refreshing take and I was happy to find out in the material that we could tell the story in this very intimate and personal way. You could see in the world both the context of the movement and the occupation, and you can have a really intimate family moments.
Guy: First we have to know that there are many kinds of settlements and many kinds of settlers. It is the Israeli machine that is making it move. These are not necessarily ideological settlers going because they want to conquer the land or wipe out Palestinians. They just want to improve their lives. The government is subsidizing the apartments in the West Bank, and using [the people’s] financial circumstances to move an agenda forward. Some settlers don’t know what is going on – the way Israel is designed, you can travel through parts and not really know where you are. Some settlers do know what’s going on and don’t care. And then you have a very small minority, a violent minority, the fundamentalist Jews that are creating terror in Palestine. They are small, but noisy and strong. If Israel would like to change its ways, they will have to find a way to root out the fundamentalists, to pull the weeds. Read the Post Sundance Exclusive: Interview with Emad Burnat and Guy Davidi of 5 Broken Cameras
“By healing, you resist oppression. – Emad Burnat”
5 Broken Cameras is a story of living in the shadow of oppression, a moving portrait of vibrant resistance through the unapologetic embrace of life itself. Set in the small Palestinian village of Bil’in, the story and narrative belongs to Emad Burnat, who became the eye of the village and ultimately chronicled over five years of activism. The people of Bil’in found their lands being encroached on by the building of a new settlement, and the wall to protect that settlement. They protest peacefully, marching up to the wall each Friday and thinking of new actions and demonstrations to stop the advancement of the settlement.
During this time, Emad also had a son, Gibreel, which brought his total brood to four. Emad mentions that each of the boys knows a slightly different world. The eldest was born during the Olso Accords which meant that he grew up with more freedom and mobility. Gibreel, on the other hand, mixes his first words of “mommy” and “daddy” with “army,” “cartridge” and “run! run!” If it weren’t for the ever present undercurrent of violence, Emad’s life would almost be seen as idyllic: a loving family; a large, involved village; numerous dances and celebrations are cornerstones of the life they create. Their marches are also full of hope and some humor. At one point, tired of the late night raids on the village, a group of children march up to the wall, chanting “We want to sleep! We want to sleep!” The situation in Bil’in gained international attention, and groups of Israeli, German, and other activists come at various points to show their support and solidarity. However, violence is never far enough away, and the promise of more hangs over Bil’in like a cloud. Read the Post Sundance Pick: 5 Broken Cameras
“Though we tremble before uncertain futures/ may we meet illness, death and adversity with strength/ may we dance in the face of our fears.”
― Gloria E. Anzaldúa
Mosquita y Mari is a slow paced exploration of being a teenager peering over the brink of adulthood. Set in a Mexican-American neighborhood in Los Angeles, Mosquita y Mari follows the lives of two very different Chicana teenagers. Yolanda (Fenessa Pineda) is a studious high-achiever, a dutiful daughter from a loving home. Mari (Venecia Troncoso) is rebellious and volatile, with a chip on her shoulder that crowds out most of the world. Circumstances toss them together again and again, and they embark on a deep and intense friendship.
In her press kit, writer/director Aurora Guerrero writes:
The inspiration behind my debut feature-film, Mosquita y Mari, was my own adolescence. Initially, when I decided I wanted to write a feature-length script I kept coming back to a series of complex, same-sex friendships I had while growing up. When looking back, long before I identified as queer, I realized my first love was one of my best friends. It was the type of friendship that was really tender and sweet but also sexually charged. Despite the fact that we had the makings of a beautiful teen romance we never crossed that line. The beginnings of Mosquita y Mari was reflecting back on that time and asking myself the questions, why didn’t we cross that line and what kept us in “our place”? I didn’t grow up in a household where my parents forewarned me that if I turned out to be gay they would disown me. They didn’t wave the Bible in my face saying it was wrong. Instead the message was subtle. It was hidden in the silences around sex and desire; it was implied in society’s expectations, you know, like you only experience those feelings of love and desire with the opposite sex. I think all of us are subject to society’s rules so I think many people can relate to this story of censored friendship. That was the initial inspiration. […] Read the Post Sundance Pick: Mosquita y Mari