
11th September

Patron: Baroness Falkner of Margravine
The International Community Film Festival 2008
* * * Please note revised times for screenings * * *
The second International Community Film Festival to be held at The University of Northampton features a selection from over 100 films sent to us from twenty countries. Several films included in the opening night present issues of conflict, peace and violence. They remind us of an ongoing cycle of terror, aggression and dogma that 9/11 is an occasion to commemorate. But the stories selected by our film-makers are primarily concerned with the people behind the headlines, and by the work that they are undertaking to improve their community-life. The directors find ugliness and beauty; a sense of visual poetry often reminds us of compassionate and redeeming human qualities. A sense of hope, based in collective action, comes through more powerfully than the familiar portraits of tragic situations and political deadlock. We find evidence that individuals and community groups are taking up the camera rather than the gun as the best tool to fight for a better world. One example of new media being used to reflect and reform the world is the Network of Community Video Units in
Race and Diversity/ War and Conflict
|
|
Red Terror |
Joel Jonsson |
|
|
|
|
Lights |
Reem Al Ghazzi |
|
|
|
|
Tuesday at the Grand |
Chris Taylor |
|
|
|
|
Little |
Idhebor Kagho Crowther |
|
|
|
|
Te Whare |
Richard Green |
Aotearoa (NZ) |
31:00 |
|
|
Survivor |
Nicole Volavka |
|
|
|
|
Something Invisible |
Ryuichi Hiraishi |
|
37:00 |
|
|
Perceptions |
Ali M. Ali |
|
|
|
|
Furrows - The Pain of Memory |
Nawafeth Youth Forum/zaLa |
|
24:30 |
|
|
Red Terror |
Joel Jonsson |
|
|
Red Terror tells the story of an Ethiopian family in the 1975 revolution. During the time of the Red Terror the Ethiopian army forced every first born male to join the battle against the rebellious liberation front. Scared of the ruthless dictatorship Mahari sends his son Alemu away to hide from the military forces. But when the army arrives and finds the son gone, they take Mahari instead; leaving behind his wife and his younger son Tatek.
Unable to bear this burden, Alemu trades himself for his father and joins the army while Mahari reunites with his family. In a twist of fate the army returns to the village presenting the dead body of Alemu to the village, to make clear how they handle disobedience. This leaves Mahari with a tough decision to make.
http://www.mandy.com/1/film3.cfm?id=11007
|
|
Lights |
Reem Al Ghazzi |
|
|
It’s about a place without its basic needs of living,
But it’s also about People with hope and courage.
A whole community live in a hard condition, and get used to it,
But what about their future; their children?
It’s about a place where there is no electricity but it is full of Lights …
It has its own kind of Light.
|
|
Tuesday at the Grand |
Chris Taylor |
|
|
'Tuesday at the Grand' illustrates the personal traumas and struggles faced by young asylum-seekers in and around the complex of a successful hotel.
This setting infused the film with a familiarity that provided a framework to then explore issues that may be alien to British citizens.
By contrasting the comfort of the British workers with the issues faced by the young people 'Tuesday at the Grand' is able to subtly help its audience to recognise that these troubles are encountered on their own doorstep and not simply in the headlines.
http://www.superkrush.com/community/community-tuesday-at-the-grand.php
|
|
Little |
Idhebor Kagho Crowther |
|
|
Hot spot social drama about 4 young and easy living Southerners who find themselves in the cultural melting pot, Jos in the middle of 2001. Not familiar with the local dialect (Hausa) they get mixed up in a fight with a local suya seller, which stemmed from a controversial pun on halla. Confusing the word to mean a derogatory attack on his faith, the suya seller takes offence and moves in for the kill, fanning the flames for an ethnic/religious conflict. The film gives an insight of what can easily give birth to ethnic crises in this part of the world and it is due to these little misunderstandings, which can easily be avoided, if we give way to peace to prevail.
|
|
Te Whare |
Richard Green |
Aotearoa (NZ) |
31:00 |
This parable explores the relationship of Tangata Whenua (people of the land - Maori) and Europeans who signed The Treaty of Waitangi in 1840 confirming Maori Tino Rangatiratanga (Sovereignty) and Crown Governance. Te Whare sees Hone opening his home to his friend Richard who has just broken up with his girlfriend and need a place to stay. Initially the relationship is positive, but slowly Richard invites his own friends to come to the house and by film's end Hone finds himself on the couch - a guest in his own home. The film parallels the experience of Maori and many other indigenous peoples who have experienced the devastation of colonization.
|
|
Survivor |
Nicole Volavka |
|
|
What happens when a Rwandan genocide survivor meets a young man from
|
|
Something Invisible |
Ryuichi Hiraishi |
|
37:00 |
About 4 months before the atomic bomb, there was the last ground battle between
|
|
Perceptions |
Ali M. Ali |
|
|
|
|
Furrows - The Pain of Memory |
Nawafeth Youth Forum/zaLa |
|
24:30 |
Furrows on an old people’s face. Furrows on the fields.
Wounds. Maybe fertile.
Or maybe just carrying the weight of memory – that is, in
We’ve searched for a different way to listen.
We were looking for histories, not History.
In a village in which nearly the entire population is formed by refugees, a community film crew’s job is to listen, to save, to challenge collective memory.
In a country in which memory is a soldier in the conflict, sharing memories can be a step in a path toward peace.
16.00-17.42 @ The Avenue Cinema
|
|
Brad: One More Night on the Barricades |
Miguel Castro |
|
55:00 Boardroom |
|
|
Trouble Sleeping |
Robert Rae |
|
|
|
|
Brad: One More Night on the Barricades |
Miguel Castro |
|
55:00 Boardroom |
When Mexican paramilitary forces shot Brad Will in the chest (
|
|
Trouble Sleeping |
Robert Rae |
|
1:42.00 |
Trouble Sleeping was the brainchild of Robert Rae, artistic director of the Edinburgh Theatre Workshop. ‘It was an opportunity to tell a story from their perspective,’ he said. ‘For refugees escaping political persecution, the fact they are political makes them committed to where they come from. To go into a strange world and a strange culture is tough.’ Rae hand-picked a team of writers with direct experience of the issues facing refugees in
One character has been refused asylum so turns to a woman friend for help - although if she does help him her own life will be ruined. It also features an Iranian who poses as a gay man in order to claim refugee status while disguising the fact from his Iranian friends that he really is a homosexual. ‘Although it is fictionalised, everything is true and the individual refugees are often playing their own stories,’ says Rae. ‘You can have a legitimate claim to asylum but through lack of communication skills you can find yourself being deported. ‘Security forces say on their websites that in many situations if they can’t deport someone because they have no evidence then they will do it on the basis of non-compliance. ‘So people coming here are faced with a really complex legal challenge in a different language and documents written with a different script. And they have to try to represent what happened to them. I hope people see the film and look at the world through their eyes.’
Producer Eddie Dick believes Trouble Sleeping is a wake-up call to people who are hostile towards asylum seekers and to politicians seeking to grant longer detention powers to the police. ‘How can we sleep soundly unless we treat these people equitably and fairly?’ he asked. ‘It is something urgent for us to deal with on a human level, not in terms of extending detention to 42 days or charging people when they are not even allowed to know the charge against them.’
Rae persuaded professional actors Gary Lewis, Alia Alzuogbi, Alison Peebles and Nabil Shaban to work alongside the amateurs, but there is no question of who the real stars are. However, some of the refugees involved wish to keep a low profile, fearing that their families might be persecuted in their home countries. One of the few actors willing to speak was Waseem Uboaklain, 38, who worked as an aircraft engineer in Palestine but now runs a cafe in Edinburgh: ‘Scottish people are generally very welcoming, but only after they know you. Perhaps a film like this will give more people an idea of who asylum seekers are.’
21.15-22.00 The Film Lab @ The Picturedrome
Selection of films from Community Video Units in
Health, Education, Arts
|
|
Tanvir’s Travelogue |
Ranjan Kamath |
|
78:00 Boardroom |
|
|
Securing Livelihoods: Fighting HIV and AIDS |
VSO |
|
|
|
|
1000 Journals |
Andrea Kreuzhage |
|
88:00 Boardroom |
|
|
Penye Nia Pana Njia |
Derek Thorne |
|
|
|
|
My Life as a Carer |
Jay Robinson |
|
29:00 |
|
|
Turnabout: The Story of the Yale Puppeteers |
Dan Bessie |
|
58:00 |
|
|
My Time My Space |
Philippa Forsey |
|
|
|
|
Fit for Life |
Philippa Forsey |
|
|
|
|
My Time My Space |
Philippa Forsey |
|
Foyer |
|
|
Fit for Life |
Philippa Forsey |
|
Foyer |
My time My Space highlights NESA’s creative work with women experiencing post-natal depression, enabling their journey towards recovery. This project enables women to increase their self-confidence and self-esteem using the creative arts as an inspirational tool. Participants are able to determine their own artistic outcomes and encouraged to develop their own interests and skills. The project shows the progression of individuals on their creative path.
Fit for Life highlights NESA’s creative work with school children emphasizing the benefits of a healthy lifestyle. Norton Radstock has some of the highest levels of obesity in
|
|
Tanvir’s Travelogue |
Ranjan Kamath |
|
78:00 Boardroom |
Tanvir Ka Safarnama is the enthralling theatrical journey that happens when a pipe-smoking urban sophisticate like Habib Tanvir travels via
|
|