Kaveh Bouteh on LinkedIn: Persian cinema at IDFA 2023 | فیلم‌های ایرانی در جشنواره فیلم‌های مستند… (2024)

Yesterday the Ukrainian documentary “20 Days inMariupol” won an award for best documentary at theBritishAcademyFilm Awards(BAFTA).The documentary was shot during the Russian siege of Mariupol in the first weeks after Russia launched itsfull-scale invasionon Feb. 24, 2022. An estimated 50,000 Ukrainians died as a result of the siege, which lasted for months until May 2022.The film’s director, Pulitzer Prize-winning Ukrainian journalist Mstyslav Chernov, reached Mariupol with two Associated Press colleagues the day the full-scale invasion was launched, and remained in the city for 20 days under heavy bombardment.“We give voice to Ukrainians,” Chernov said at a post-awards presser. “We keep reminding the world about what is happening.”“The problem is that people who are becoming indifferent, they still believe they can live in the same world they used to live in.A lot of common folks still believe their lives will not be impacted by war in Ukraine or Israel or Africa… and I think that is a fundamental mistake. I think everyone will eventually be impacted by the events that are unfolding right now. No one should be indifferent, and it’s our job as journalists to make sure that more people are engaged.”In an age where artificial intelligence (AI) is rapidly transforming our world and also film industry, documentaries will become vital for navigating the complex ethical, social, and economic questions.As someone born close to Ukraine and someone who lives and works in Switzerland, the subject of this movie is critical to the society I am part of. Thus, I am so sad and heartbroken still to see many not aware of what is going on in Ukraine...Have you heard about the award-winning movie? See the trailer in the comments below. I wish Ukrainian and other teams would win BAFTA awards for different types of work, I hope it will happen soon. Until then, this is what we have...

16

2 Comments

There is a common denominator that unites Amr Gamal's films "Ten Days Before the Wedding" and "The Exhausted ones", which is the presence of the wounded city of Aden in his two movies. It is still too early for the war in Yemen to become part of the history, in the sense that we can talk about it in the past tense. Therefore, we find Amr Gamal’s tendency for the place to play a fundamental role as a living witness to the sequences of the war in Yemen.My last article on Khuyut in English

6

Being critical about his government doesn't make young Israeli journalist "Yuval Abraham" an Anti-semitic. He has publically said he faces death threats following the acceptance speech he gave for a documentary he directed with Palestinian journalist "Basel al Adraa" exposing Israel's illegal land theft in Masafer Yatta, occupied West Bank. We must support, applaud these young activists who emphasize on the importance of co-existence between the Israelis & Palestinans during these uncertain times. "No Other Land"is a 2024documentary filmdirected byBasel Adra, Yuval Abraham, Hamdan Ballal and Rachel Szor in their directorial debut. The film was made by a Palestinian-Israeli collective of four activists as an act of resistance on the path to justice during theongoing warin the region. A co-production between Palestine and Norway, the film was selected for the Panorama section at the74th Berlin International Film Festival, where it had its world premiere on 16 February 2024, winning the 'Panorama Audience' Award for Best Documentary Film, and the "Berlinale Documentary Film Award".Source - ( TRT World )------------------------------------------------------------------------------------#gaza #palestine #global #middleeast#humanitariancrisis #ethniccleansing #emergency #humanity #humanrightswatch #humanitarianaid #apartheid #conflit #coexistence #responsibletourism #dreams #generationz

2

https://lnkd.in/deJxjwd4This movie illustrates one of the most insidious elements of exterminationist antisemitism as practiced by the Nazis, namely, to project onto the Jews the very traits of those who wish to exterminate them. Even as the Nazis were pursuing a goal of world conquest and enslaving humanity, they accused the Jews of doing so. Even as Arab political culture embraces genocidal discourse and cheers it most savage expressions, pro-Palestinian propagandistsaccuse Israel of their own desires and crimes. This film systematically projects onto the Israelis the mentality and actions of Arab troops, clearly present in 1948, and so recently and horrifyingly illustrated by Hamas. In putting out this film you will be contributing mightily to the radical moral disorientation of your viewers and serve the cause of those who hate and want to exploit you.

3

My #BlackHistoryMonth ... Title: Shaping African Identity: The Role of British Colonial Films in #Kenya (1920s-1950s)."The #Colonial Film Unit (CFU), established in 1939, aimed to produce propaganda films that encouraged British support during World War II (Smyth, 1979). The CFU's role was to manage the production of films that portrayed the Empire favorably during military and colonial campaigns in East and Central Africa (Smyth, 1979). The #British Empire's trusteeship approach differed from South #Africa's strict, prejudiced governance (Burns, 2000).The censorship of narrative films played a pivotal role in managing the British Empire's image and shaping the identity of its imperial subjects in East and Central Africa (Smyth, 1979). The Cinematograph Protection Act of 1927 imposed a quota on #American films and instituted censorship in African colonies to control the portrayal of white colonials and Africans (Smyth, 1979). The South African approach departed from censorship guidelines, leading to experiments on how Africans identified with #narrative films (Burns, 2000).In today's interconnected world, a nation's brand image is critical for shaping its identity domestically and internationally (Yang & Klyueva & Taylor, 2012). The British Empire's political, social, economic, and security approach to narrative films indicates that image management is not merely a public relations issue (Hansen, 2010)."

🎬 Uncover the Dark Side of Israel's Early History with "Stern"!Curious about the hidden aspects of Israel's past? Our latest article introduces "Stern", a film that reveals the darker chapters of Israel's early existence. Get the inside scoop on this highly anticipated release!👉 Read the full article: (https://lnkd.in/gG_uGKsD)#Film #Israel #HistoricalFilm #Stern #Cinema #GenMuslim

"This is so important" and "Tragically timely" - Radio Free Europe/Radio Liberty. Check out this wonderfully meaningful feature story on Rolling Pictures' WORDS OF WAR and the story of slain Russian journalist Anna Politkovskaya.#film #cannes2024 #filmmaking #journalism #russia #movies #newmovies #publicrelations #teamworkmakesthedreamwork

2

The 30 for 30 series, developed by the Imigani Project in collaboration with IGIHE and featuring 30 Rwandan artists from different generations, marks the 30th commemoration of the Genocide against the Tutsi. Each narrative probes the deep-seated impact of the Genocide, highlighting how the arts offer a depth of insight and emotional resonance beyond what traditional forms of reporting and documentation, such as news articles, history books, and documentaries, can provide. As such, the arts are portrayed as a powerful tool for understanding and processing the emotional aftermath of genocide, offering perspectives that are more nuanced and emotionally impactful than those found in more conventional sources of information.This episode features Jean-Luc Mitana, a Rwandan filmmaker in the film industry and the founder of Inzu Films, a production company that serves as a hub for his filmmaking endeavours and a platform for developing local filmmaking talent.In this episode, Jean-Luc shares his profound understanding of the role storytelling plays in shaping Rwanda's country identity and its representation globally. He emphasises the importance of expanding the narratives explored in Rwandan cinema beyond the predominant themes of Genocide against the Tutsi. By advocating for films that delve into science fiction, pre-colonial history, and other diverse topics, Jean-Luc argues for a richer cultural dialogue that transcends Genocide against the Tutsi. His call for better funding and support for local filmmakers is not just about fostering creativity but also about building a sustainable film industry that empowers Rwandans to tell their own stories. This development is crucial for cultural autonomy and for presenting Rwanda through multiple lenses on the world stage. #Kwibuka30cc: Cynthia Butare

9

This week, the Toronto International Film Festival will screen a “documentary” (Russians at War) that attempts to humanize a genocidal army and minimize the crimes Russia is committing in Ukraine. This would be appalling enough, but wait, that’s not all. We can not always expect to be happy about how tax proceeds are managed, but funding literal Russian propaganda is well beyond the line. The Canadian Media Fund, among others, allocated at least $340K for the production of this film. The filmmaker claims to have embedded herself (illegally) on the territory of Ukraine, along with the Russian army, for seven months without permission from Russian military command. This claim is laughable as is, but is further contradicted by her statements in a recent media tour, where she describes being referred high up the chain of command and eventually "not forbidden" to film, while donning a military uniform as opposed to her civilian garb, so their “own people don’t shoot her”, referencing the Russian troops with which she was embedded. I’m going to give you a minute to absorb this. This Canadian filmmaker (with Canadian residency, citizenship, and education) CHOSE to work in Russia for the notorious state-funded media company designed to influence western audiences RT (Russia Today) after the start of the Russian invasion in 2014. RT has made a name for itself in advancing unhinged conspiracy theories about the downing of the Malaysian Airliner MH17 by subsequently convicted Russian commanders (who were supposedly “not there”) over the fields of Ukraine that year. She was involved in 11 documentary projects with RT until 2020. In her media interviews, she insinuates that she has been a victim of a censorship attempt. The backlash that the funding and screening of this film has generated is not about limiting freedom of expression. It’s about the ethics of allowing a hostile power in the process of committing a genocide to normalize it on Canadian screens and with Canadian funds. There are many reasons to care about this. Opposing genocide, promoting progress, and upholding human rights are among them. But you don’t have to care about Ukraine or Ukrainians at all to find this attempt to influence public opinion and foreign policy in Canada against public interest underhanded and unacceptable at best, and treasonous at worst. This conversation, although in some eyes it may be controversial or political, does belong on LinkedIn. Because normalizing the invasion means slowly opening the door to easing sanctions, stopping divestment from Russia and other dictatorships, and getting tacit permission to go back to ‘business as usual’ as soon as possible. Consider the title of the informative op-ed attached to be your content warning, if you choose to read it. https://lnkd.in/gfdaBusr

1