just saw “american hustle.” omg. two words: christian bale!!! he is mind-blowingly brilliant. loved him in hustle. haven’t enjoyed a film so much in yrs.
Category: self-authored
prime suspect
watched all of “prime suspect” on netflix and loved it. helen mirren is masterful all the way thru, from the beginning of the series in 1991 to its end in 2006. the first three series, written by lynda la plante, are incredible in their complexity and gritty realism. not only do they locate crime in a richly textured racial, socio-economic and political milieu but they investigate and expose sexism and corruption within the police force with a kind of unflinching sang-froid that is unthinkable in american television. such is the unvarnished, convoluted reality we are confronted with in the series, that even the successful conclusion of a case does not satisfy. it’s impossible to wrap things up neatly and unambiguously. mirren’s performance, as DCI jane tennison, is intelligent, precise, full of restrained intensity. the evolution of her character’s career, life and disposition is truly mesmerizing. the hard choices tennison had to make as a woman driven primarily by her work and society’s reaction to an aging woman in a position of authority continue to resonate strongly to this day.
Ken Burns: The Central Park Five
watched “the central park five,” an excellent documentary by ken burns. it’s heartbreaking and infuriating but, unfortunately, the institutional racism it exposes is not that shocking. the NYPD, the criminal justice system, the media, the politicians, and the public were all complicit in destroying the lives of five kids. it’s disgusting that the lawsuit filed by the 5 victims against the city of new york remains unresolved to this day.
an honest conversation
last week i had a guy come in to service our heating system. i had never met him before. as i was leading him to the furnace, he asked me where i was from. i said: “from here.” he said: “yes, but what’s ur nationality?” i said: “american.” he sniggered and went to work. later he started telling me about how he had been in the navy and didn’t believe in “negativity” and had friends from pakistan and israel and all kinds of exotic places. he said: “do u like thai food?” after i told him i did, he said: “oh yeah, coz u must love curries.” i told him not particularly. he asked me about good indian restaurants. i still didn’t commit to any foreign nationality. as he was leaving, he told me i shouldn’t be offended by his questions. he’s not “negative” about any religion or ethnicity. he even watches the BBC. i told him to watch democracy now. also, i said: “since u keep digging, let me tell u something. ur questions r intrusive and u only asked them because i’m not white. what’s ur nationality? i’m sure u’re not native american. what r ur roots? what’s ur food? ur story? why do u feel entitled to ask me personal questions about my background when we don’t even know each other? because i’m not white?” he thought about it and agreed that i was right. he said goodbye and thanked me for teaching him a valuable lesson. he said: “next time i’ll just say hello mara and get to work.” good idea.
Dirty Wars on Nov 12 at 7pm at the Cinema Theater in Rochester!
DON’T MISS THIS!!! RCTV presents Dirty Wars, Tuesday, November 12 at 7pm at the Cinema Theater, on the corner of Goodman St and Clinton Avenue. The film will be followed by a conversation with Director Rick Rowley. This is a groundbreaking film which premiered at Sundance this year, received the award for best cinematography and was featured on Democracy Now! More about the film here.
my review:
i saw “dirty wars” this week at the cinema theater here in rochester. the film is based on jeremy scahill’s investigative work as a journalist. i have been aware of the quality and integrity of his reporting for many years and the film does justice to it. the cinematography is superb and so is the tight, almost breathless editing of the film – no wonder it was a favorite at sundance. i knew many of the events covered by the film: the night raid and killings in gardez (afghanistan) where US soldiers dug out bullets from the bodies of pregnant women in order to create a counternarrative; the strikes in al-majalah (yemen) where 45 innocent people were killed, most of them women and children; the extrajudicial execution of anwar al-awlaki and later his 16 yr old son. however, there were a few things that jumped out at me. (1) JSOC (joint special operations command) which was responsible for gardez, and is known for its super secrecy and ability to fabricate and distort reality, was the exact same elite force that carried out osama bin laden’s murder. something to think about. (2) JSOC was described by an insider in the film as having become the paramilitary arm of the white house. when asked whether things had gotten better or worse under obama vs bush, he said that global operations under obama had become “harder, faster, quicker – with the full support of the white house.” america’s covert wars have expanded from 40 to 75 countries. (3) afghan civilians described american soldiers who had beards and wore local clothing. they said those were the worst US soldiers – more violent and cruel than anyone else. they called them the “american taliban.” we see pictures of them in the film. so funny that when i was in islamabad a week or so ago, many people told me about americans living in the tribal areas in the north who had beards, looked like pashtuns, and stirred up trouble in that part of the country. i didn’t pay much attention until this. (4) i loved how jeremy concluded the film by saying that the war on terror has become a self-fulfilling prophesy. that’s my take exactly. these secretive, illegal and morally repugnant covert wars r preparing the ground for endless backlash and destroying entire countries as they become engulfed in increasing violence. american citizens are not immune to these nefarious operations – the president has carte blanche to kill anyone of us, whenever he likes.
eschatology and hospitality: an interfaith conversation
oct 19, 2013: presented a paper with my friend Rachel McGuire at the new creation conference at roberts wesleyan college today. the topic of our presentation was “eschatology and hospitality: an interfaith conversation.” we talked about hospitality as an equalizer of power – a way to restructure society. rachel spoke about prophets such as jesus and malcolm x who shake up oppressive power imbalances and decolonize our minds. i talked about amartya sen’s book “identity and violence: the illusion of destiny” and discussed complex, multi-faceted identities within each individual as opposed to cardboard stereotypes which pit unchanging, incompatible “cultures” against one another. we quoted jacques derrida, the letter to the hebrews, jesus, muhammad asad, and the andalusian sufi and poet ibn arabi. ours was the only interfaith presentation, presented by two people instead of one. it was academic but forcefully connected to our present reality. the response was brilliant. instead of one tentative question we got an array of questions and comments which ended up becoming a discussion. yay!!!
my co-presenter rachel is on my left and my friend eileen who was there to cheer us on, is on my right.

Reflections By An Arab Jew – Ella Shohat
Ella Shohat: It was precisely the policing of cultural borders in Israel that led some of us to escape into the metropolises of syncretic identities. Yet, in an American context, we face again a hegemony that allows us to narrate a single Jewish memory, i.e., a European one. For those of us who don’t hide our Middle Easternness under one Jewish “we,” it becomes tougher and tougher to exist in an American context hostile to the very notion of Easterness. As an Arab Jew, I am often obliged to explain the “mysteries” of this oxymoronic entity. That we have spoken Arabic, not Yiddish; that for millennia our cultural creativity, secular and religious, had been largely articulated in Arabic (Maimonides being one of the few intellectuals to “make it” into the consciousness of the West); and that even the most religious of our communities in the Middle East and North Africa never expressed themselves in Yiddish-accented Hebrew prayers, nor did they practice liturgical-gestural norms and sartorial codes favoring the dark colors of centuries-ago Poland. Middle Eastern women similarly never wore wigs; their hair covers, if worn, consisted of different variations on regional clothing (and in the wake of British and French imperialism, many wore Western-style clothes). If you go to our synagogues, even in New York, Montreal, Paris or London, you’ll be amazed to hear the winding quarter tones of our music which the uninitiated might imagine to be coming from a mosque. More here.
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talking about the notion of easternness, i am reading an excellent book called “good muslim, bad muslim” by mahmood mamdani. in the first chapter he discusses the idea of what we call the “west” and how it’s changed over time to become a racial identity rather than a geographical one. whatever exists on the periphery of the west is then called “east” or the orient. he talks v poignantly about this “blank darkness” (africa, pre-columbus america, etc) which cannot be categorized as either east or west. that’s a pretty large part of the world. the otherization of the east, esp islam, goes all the way back to the crusades.
i analyze this misguided need to partition identities into neat little boxes in a paper i’m writing which discusses “fractured identities.” i use al-andalus as an illustration of what that means.
Maria Rosa Menocal: One of the least appreciated features of Islamic culture, that vital part of it that comes directly from the poetry-loving and word-worshipping desert culture of the pre-Islamic Arabs, is the way that from the beginning it embraced the possibility of contradiction–as, I believe, poetry-centric cultures are bound to do. F. Scott Fitzgerald once famously said that the test of a first-rate mind was the ability to hold two contrary ideas at the same time. By that measure, which I think is essential for there to be true religious tolerance and the sort of cultural vitality that can come from that, Andalusian culture, and by extension much medieval European culture, was first-rate indeed. There are dozens and dozens of wonderful examples of this, little-known because we tell the story as if they, like us, were striving to be unified creatures: ergo, Arabs spoke Arabic, religious people were pious and would not have cultivated erotic poetry, and Christians spent all their time crusading against the enemy. more here.
Linsanity Official Trailer
saw “linsanity” and loved it. not only is it a well-produced, moving documentary but the man at the center of the film, jeremy lin, is captivating. unquestionable talent, impeccable work ethic, natural leadership skills, fearlessness and passion should have ensured a successful career in professional basketball, but lin had to struggle and prove himself non-stop. it was exhausting to watch it on film so i don’t know how he survived it in real life. the racism was relentless, whether it was the subtle kind that wouldn’t let him play in practice let alone in games, or the blatant kind where audiences shout racial slurs at him or sports commentators make fun of the “chink” in his armor. he talks about learning to laugh at the racial jokes rather than getting upset because he plays an awful game when he’s angry. for a young man in his early 20s to be able to process racism and continue to perform brilliantly is absolutely mind-blowing. many times some of his mannerism and wacky humor reminded me of my 18 yr old son. so proud of him!
another brainstorm from netanyahu
netanyahu: “i think if the iranian people had freedom, they would wear jeans, listen to western music, and have free elections.” — 1) who wrote netanyahu’s speech? thomas friedman? 2) the point is not so much to prove that yes, iranians do wear jeans and have a proclivity for western music, but to question whether eating at mcdonald’s is the only path to peace and salvation. 3) it’s obvious that consumerism is at the core of the new mission civilisatrice, but it’s kinda honest of netanyahu to include democracy in his list of cool, western must-haves. hey, he forgot to mention sperrys and hobos.
Fringe Fest 2013 Reviews: Garth Fagan Dance
sept 29, 2013: went to see garth fagan yesterday, and loved it! his choreography is athletic, muscular and incredibly precise. the stop-start movements of the dancers require strength and perfect control. it reminded me of still frames in a film, which capture motion when played fast enough but which can express themselves as a series of vivid images when slowed down considerably. fagan dancers can slow down, so that every muscle in their bodies is taut, flexed, throbbing yet fully disciplined. no wonder then that the show opened with “prelude: discipline is freedom.” this was followed by “no evidence of failure” which fagan explained was inspired by his mother and other women in his family who were strong, can-do, multifaceted women. i also loved “gin” which is choreographed by norwood pennewell and based on the separation and transformation that occurs in cotton ginning. fantastic music by aphex twin, yo-yo ma and coleridge-taylor perkinson. finally, we were treated to excerpts from fagan’s lighthouse/lightening rod which is choreographed to original music by wynton marsalis. what a blessing that garth fagan’s dance studio is based here in rochester. the mad love from the audience was pretty obvious. more here.
Robert Bresson interview: Au Hasard Balthazar
robert bresson is often called a painter of films. by using non-actors and purging his films of all theatricality, he forces us to go deeper into ourselves and experience emotion with surprising intensity. altho his films are primarily cerebral (meticulously choreographed with a kind of clarity that requires emotional distance), the relentless violence of every day life, of what we call reality, builds up gradually over the course of the film until it becomes unbearable. the ending (in both “au hasard balthazar” and “mouchette”) provides a much needed emotional release, not through the projection of actors but through our own internal response to the film. what better way to unleash that response than to combine the film’s simple, much awaited denouement with divine music (schubert’s piano sonata no. 20). a masterpiece.
ONCE UPON A TIME IN ANATOLIA
loved nuri bilge ceylan’s “once upon a time in anatolia.” as usual, ceylan’s eye for photography is apparent in every fame of the film. especially breathtaking are gorgeous wide shots of the turkish steppe shot at night, as a group of men (including a police chief, a prosecutor, a doctor and a murderer) travel the countryside looking for the buried body of the murderer’s victim. the shots are partly lit by what seems to be gentle, hardly perceptible moonlight and the harsh yellow headlights of the cars. this is a slippery film, where the focus of the plot and the crystallization of the characters shift ever so subtly. while the characters are shot up-close, filling up the screen with a variety of faces, thoughts and temperaments, the landscape is filmed from a great distance, offering us some solidity and some respite from petty bureaucratic banter. there is something metaphysical, something profoundly lonely about the contrast between the immensity of the steppe and ant-like cars struggling along a narrow, countryside road, full of men on a mission. particularly arresting are scenes shot in a small village where the group stops for food at the mukhtar’s house. it’s a windy night and as they sit together to feast on lamb kebobs, there’s a power outage. they wait in the dark and begin to doze off in different corners of the room (they’ve been up all night). suddenly the mukhtar’s youthful daughter brings small tea glasses balanced on a tray along with an oil lamp. her face is lit by the bright light of the lamp and the men look at her as is she were an apparition, an angel. the scene is so otherworldly and beautiful that it provokes an emotional reaction in the men and in us, the audience. over the course of the film, the doctor emerges as the plot’s anchor. yet this is a nihilistic man who lives on the sidelines of life. he observes keenly and questions rationally but he is not an active protagonist, until the very end of the film. realistic, unhurried, unforced, yet nuanced and perfectly executed. so delightful to savor intelligent filmmaking.
Edward Snowden, the N.S.A. Leaker, Is No Hero
jeffrey toobin’s sad and silly piece for the new yorker in which he proceeds to analyze and slander edward snowden with nary a discussion about privacy and what ellsberg calls an “executive coup against the US constitution.” toobin proclaims: “These were legally authorized programs; in the case of Verizon Business’s phone records, Snowden certainly knew this, because he leaked the very court order that approved the continuation of the project. So he wasn’t blowing the whistle on anything illegal; he was exposing something that failed to meet his own standards of propriety. The question, of course, is whether the government can function when all of its employees (and contractors) can take it upon themselves to sabotage the programs they don’t like. That’s what Snowden has done.” it’s fascinating how quickly human beings can become inured to fascist control – perhaps that will enlighten us about pre-glasnost russia or francoist spain or even nazi germany. it doesn’t take much for people to accept orwellian thought control and toe the govt line. when asked by greenwald about his greatest fear, snowden didn’t mention the safety of his own person. he said that his greatest fear was that after all this, nothing will change. more of toobin’s piece here.
Korkoro
“based on an anecdote about the second world war by the romani historian jacques sigot, the film was inspired by the true life of a romani who escaped the nazis with help from french villagers, and depicts the rarely documented subject of porajmos (the romani holocaust).” korkoro (freedom) is a lush depiction of romani culture – their strong sense of community and intuitive bond with nature. taloche (one of the characters) is an embodiment of transcendental ecstasy. there are some remarkable scenes in the film where taloche’s experience of freedom borders on rapturous insanity. the casting of taloche is an interesting story. tony gatlif, the director, wanted an accomplished musician/acrobat who exuded intense purity. he ended up hiring james thiérrée, a grandson of charlie chaplin, who learned gypsy swing music in 6 months. this is an unusual holocaust film. it takes its time, it’s shot with some emotional distance, it’s subtle, symbolic, controlled. perhaps the fact that gatlif intended for it to be a documentary initially has something to do with it. the combination of controlled, realistic storytelling and unrestrained romani vigor make for a rich film. the musical score, by tony gatlif and delphine mantoulet, is perfectly integrated with the film’s cinematography in a way that i have never seen before – it’s more ambient sound than music. it is estimated that a quarter of the romani population was exterminated by the germans during WWII. it’s worthwhile to remember what happens when racial panic is translated into law. it’s also important to know that roma persecution in europe continues to this day…
BeeEye by Cat Ashworth
went to see BeeEye at the imagine festival at rit on may 4th, 2013. it’s a wonderful video installation by my friend, artist and filmmaker cat ashworth. talking about the disappearance of honeybees, one of the beekeepers called it a “human collapse disorder” rather than a colony collapse disorder. he explained how humans have much to learn from the honeybee, which is primarily community oriented. “bees don’t have egos” he continued. he went on to discuss darwin’s theory of evolution and how it was misrepresented. survival of the fittest has become a dogma, he said, altho that’s an incorrect understanding of what darwin meant. it is the ability to adapt to and coexist with one’s environment which ensures survival, what we should call survival of the kindest, the most symbiotic. excellent videography and terrific musical score by eastman school of music professor and composer carlos sanchez-gutierrez.
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BeeEye by Cat Ashworth – artist’s statement:
“The honeybee reminds us of the interconnectedness of all life. The intricate cellular structure that the honeybee makes in the hive reminds us that all things in life have a pattern. I want the audience to enter the hexagon cell and immerse themselves in the sights and sounds of the honeybee.
I became interested in the honeybee in 2006, when Colony Collapse Disorder was killing off hives all over the world. First I became a beekeeper then I started filming bees and other beekeepers. I started off making a traditional documentary, but as I was editing the material, I discovered I liked just watching the abstract flight patterns the bees made. I decided to take the project in a different direction, and create an artwork that is more abstract.
Honeybees speak in a language different from humans. Much of the practice of beekeeping relies on the power of observation. I tried to keep talking at a minimum in this project, so that the audience can begin to glimpse into a life form that is very different from humans. Although humans and honeybees have had a relationship for thousands of years, the honeybee remains wild, and many of her secrets remain hidden.”

