Tag: cinema politica

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The war story of Standing Rock

Graphic by Zeze Le Lin.
Article written by Maggie Hope and Olivia Deresti-Robinson

Michelle Latimer spoke about the importance of her new series with VICE at a recent screening

“It changed my life to be there. It’s very rare as a filmmaker that you actually get to revisit your heritage and what means the most to you,” said writer, producer and director Michelle Latimer at a recent screening of her films Sacred Water and Red Power. The films received a standing ovation from the crowd, which brought Latimer and several audience members to tears.

As part of their fall programming, Cinema Politica screened two films by Latimer on Oct. 2. Latimer, a graduate of Concordia’s film program, partnered with VICE Canada to make RISE, an eight-part series that showcases “Indigenous communities across the Americas […] protecting their homelands and rising up against colonization,” according to VICE’s website.

Cinema Politica screened the first two parts of the series, titled Sacred Water and Red Power, which document the events surrounding the Dakota Access Pipeline (DAPL) protests that took place at the Standing Rock reservation in North and South Dakota last year. The screening was followed by a discussion with the filmmaker, who is in Montreal to be part of Cinema Politica’s jury at the Festival du Nouveau Cinema.

Sacred Water introduces DAPL and what its installation means for the Indigenous communities that live in its path. Essentially, if built in its entirety, DAPL would destroy about 380 sacred sites that are home to a variety of Indigenous tribes in the central United States. Additionally, the pipeline would threaten the water supply of all Indigenous tribes living along the Missouri River and in the surrounding area. Red Power expands on the political dynamics that surround the pipeline and uses historical footage to show how the Indigenous population in the area have been treated throughout history.

Latimer, who is Algonquin Metis, spent nine months at the reserve getting to know the growing community there and documenting their struggle to hold onto their land. At the screening, Latimer admitted that, although she knew the Standing Rock protests would be important to record, she did not anticipate the duration and size to which they would grow. The filmmaker chose to partner with VICE Canada for her films to reach a larger audience than she would have had on her own.

While the concept of land ownership is a point of contention between Indigenous and non-Indigenous populations, the basic premise of the first two films is that the land the pipeline is set to cut through is extremely important to a large population of Indigenous people. They do not claim to “own” the land, but instead emphasize that generations of their people have lived off of it and it is not the U.S. government’s to take.

In addition to running through sacred land, the construction of DAPL began without a building permit that needed approval from the Sioux tribe, who live on the Standing Rock reserve. The Sioux people, who call themselves water protectors, denied DAPL access to their land. In August 2016, however, the pipeline began construction despite not being approved.

How dire this situation became is something Latimer emphasized after the films ended. “In my nine months there, I realized I’m willing to die for this. It gives a kind of power and personal journey to those films. I think you see the importance of what people are fighting for and why,” the filmmaker said.

Unfortunately, less than a month after the water protectors’ short-lived victory on Dec. 4 2016, President Trump’s administration made the decision to follow through with the construction of the pipeline and everything the Sioux fought against. Latimer mentioned that DAPL is fully functioning today, already with a spill within the first three months of its construction.

Although it may seem like the battle is completely lost, Latimer encouraged viewers to find the positives in the situation. She emphasized that what happened at Standing Rock can give us power and hope for the future. The DAPL protests were just the beginning of a bigger battle that we must continue to fight. Latimer noted that there are other pipeline projects that need to be stopped—such as the Kinder Morgan and Line 3—and action is already being taken to do so.

The impact of the Standing Rock protests has already taken effect. “[What’s] happening since Standing Rock is people are mobilizing, and they’re connecting, and they’re already looking at how to mobilize against these larger infrastructure projects,” Latimer explained.

In times as dark as these, Latimer added, light is what brings people together and encourages them to keep going. An influential form of light, she said, is creating art. “Due to the onset of surveillance and undercover informants at the camp, there was a level of paranoia that started that was really scary to be a part of […] and art was the thing that lifted people’s spirits.”

She explained that there were drum circles and concerts which took place almost every night at the Standing Rock reservation, as well as poster and banner-making tents which helped ignite participants’ spirits and gave them hope. Latimer found that her filmmaking allowed her to express her point of view as an Indigenous person and “channel” the stories of those around her.

Latimer and the other Indigenous protesters in the film highlighted that the installation of these pipelines is not just an Indigenous issue—it concerns all of us. This is an environmental issue, a social issue, a global issue. “We have this planet to protect, and it’s all we’ve got,” she concluded.

Sacred Water, Red Power and the rest of the RISE series can be found on VICE’s website. For upcoming Cinema Politica screenings at Concordia, visit www.cinemapolitica.org/concordia. Screenings are held in the Hall building in room H-110 every Monday at 7 p.m. Entry is by donation ($5 to $10 is suggested).

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Permaculture: Becoming part of the whole

Inhabit tackles permaculture from several perspectives through expert commentary.

Cinema Politica film offers alternative to unsustainable, destructive agriculture model

Conventional agriculture is about extracting from the land to produce as much food as possible. It’s taking without giving back. The current model of industrial agriculture is unsustainable, inefficient, polluting and unnatural.

Finding a viable alternative that will feed the world’s population, while also decreasing greenhouse gas emissions, is one of the complicated and thorny issues of our times.

And yet, the solution might be embarrassingly simple: permanent agriculture, or permaculture.

Inhabit: A Permaculture Perspective explores the principles of this new vision of agriculture by showing the viewer different farms that abide by the principles of permaculture.

Directed by Costa Boutsikaris and produced by Emmett Brennan, the film is both beautiful and poignant. The subject in and of itself is fascinating, but the cinematography and beautiful score, composed by Aled Roberts, carries the narrative. The film has an optimistic feel through its uplifting score—a nice change from the typical doom-and-gloom outlook on the future.

Permaculture is about designing a living, breathing ecosystem—one in which plants and animals coexist symbiotically with one another and the land. It is a step further than sustainability. Permaculture is about making things better through intelligent design and structural adjustments, while sustainability is simply about making sure the environment doesn’t worsen. It is the complete opposite of conventional industrialized agriculture, which is the attempt by humans to control nature.

In theory, spaces that adhere to the principles of permaculture would continue to function if the human element was removed. Fruit trees coexist with vegetables, perennials, flowers, insects and even grazing animals—all working together to form an ecosystem.

The film’s central argument is that no space is too large or too small to abide by the principles of permaculture. It is divided into different points of focus, and rounds out its argument by looking at how different scholars, artists, farmers and ordinary citizens have transformed their spaces to create ecosystems. It looks at suburbs, cities and farms, exploring how each space can be transformed through intelligent design.

There are 40 million acres of lawn in the United States that could be producing food, while also bringing people together through communal gardens. In cities such as New York, there has been a surge in rooftop green spaces. Not only is this a more efficient use of space, but it also diminishes the burden on sewage systems during intense rains. These are just some of the examples highlighted in the film.

Inhabit: A Permaculture Perspective was one of the last films to screen at Cinema Politica this semester. The final screening, on Monday, April 18, will feature a selection of feminist short films from the 2016 Fantasia Film Festival. A total of nine shorts will be featured, focusing on intersectionality in feminism. Screenings take place in H-110. Admission is by donation.

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With this Ring smashes stereotypes with a one-two punch

 Concordia alumnae shine light on female Indian boxing champions in new documentary

MC Mary Kom, who was born in Manipur, India,  financed her early boxing career by squirreling away whatever money she could until she had enough to buy her first pair of cheap boxing gloves. Despite winning match after match in the ring and slowly climbing in the rankings, Kom kept her involvement in the sport a secret from her family.

After she won the boxing state championship, her story was featured in a newspaper–her parents found out she was a boxer.

Kom’s story is one of many told in With this Ring. The documentary, directed by Concordia alumnae Anna Sarkissian and Ameesha Joshi, examines the reality of female boxers in India. Despite earning numerous titles and medals, the athletes reside in a country where old traditions and societal pressures discourage  women from participating in sports such as boxing.

The documentary follows several female boxers over a period of six years as they train to become the next world champion, competing on the global stage. In addition to showing the grueling training schedule, the film also highlights the challenges these women face outside the ring, such as the huge pressure for young Indian women to marry.

For many athletes in the film, boxing is more than just a sport. It’s a source of income, or an escape from poverty, or a means to get a job. Yet, for all the successes of India’s female boxing team, the top-ranked in the world, recognition is hard to come by.

“Our ultimate goal was to share the boxers’ stories with Indian society and hopefully the rest of the world too, so that they can be recognized for everything they’ve sacrificed and achieved. We wanted them to be known,” Sarkissian said.

The film draws its strength from the way it is structured. Rather than telling the viewer what exactly is happening, it opts to show it instead. There is no narration, and the only intrusion on behalf of the directors is intermittent text insertions to give context or explain a concept. This allows the boxers to tell their own stories—to explain their own hardships, their own accomplishments and their own pains. In addition to the athletes’ points of view, the film also includes short segments in which regular citizens are asked their opinions on women in sport. Most times, the answers are very traditional: the boxing ring is no place for a woman, as her face might get scarred, which would prevent her from finding a husband.

When Joshi and Sarkissian decided to commit to producing this film, the original plan was to go in for two months, embed themselves in the boxers’ lives, then head back home. Instead, producing the documentary has been a decade-long adventure. The filming section of their project took six years and included four trips to India.

“People may think that being a filmmaker is quite glamorous, but it often involves having a day job and spending evenings and weekends on a project you’re really passionate about,” Sarkissian said. “There are lots of highs and lows in this type of work.”

With this Ring will be screened as part of Cinema Politica’s program on April 3 at 7 p.m. Admission is by donation. The screening will take place in H-110.

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Ovarian Psycos: channeling anger into progress

New documentary tackles issues of sexual violence and gender inequality

One in three women will experience physical and/or sexual abuse in their lifetime.

Ovarian Psycos, a documentary that will be shown at Cinema Politica on March 6, uses this fact to drive the entire film. The documentary follows a bicycle brigade of womxn of colour, female-identifying individuals and gender nonconforming people in East L.A.

The brigade serves as a refuge for individuals who identify as outcasts from society, and need a safe space and community to go to. They organize bike rides and demonstrations around L.A. as a way to raise awareness about gender inequality, sexual violence, and murdered and missing womxn of colour, to name a few.

The film follows several members of the Ovas—which is short for Ovarian Psycos—from the founder, Xena de la X, to a new member, Evie. It sheds light on the difficult reality of living as womxn of colour in L.A. and dealing with traditional, post-colonized Mexican family expectations.

Xena was subject to relentless abuse as a child, which motivated her to create a safe space for womxn of colour to heal and act together. She came up with the idea of the Ovas not only to support those in need, but also as a united force to protest against the social injustices she had faced. Evie, a 21-year-old second-generation Mexican womxn, said her mother did not understand why she joined a cycling group because she believed cycling was a sport for men, and only men. Yet Evie found comfort and confidence in the Ovas by defying gender stereotypes and defining her identity outside of traditional constructs.

The Ovarian Psycos found their name by reclaiming their biology and female bodies as powerful, strong, defiant vessels through which to spread awareness and acceptance. The members wear bandanas printed with symbols of ovaries over their mouths as a way to reclaim urban gang culture in an all-inclusive, coloured, female context. They ride through the dark streets of L.A. howling, chanting and laughing as they go. Xena explained that, by channeling their anger and frustration into a progressive, active movement, they are able to release their inner “psychos” and confront patriarchal oppression in a public space.

The Ovas vow to always have love for their “sisters” and to keep their “spirits always rebellious.” By maintaining a safe community, they are able to gather large numbers and act as a powerful collective unit.

There is also a strong history of civil rights movements in East L.A., which the Ovas recognize, and they acknowledge their responsibility to continue it. Drawing inspiration from the Chicano Movement of the 1960s, the Ovas aim to recognize the historical oppression of Mexican Americans and reclaim racial violence that they were and are still subject to.

Due to the specificity of their movement and their experience dealing with intersectional oppression, the Ovas have received backlash from some members of the surrounding society. This opposition only fuels their desire to spread awareness of societal oppression of womxn and womxn of colour, and the realities of living as a minority in American society.

Cinema Politica will be showing Ovarian Psycos on Monday, March 6 at 7 p.m. in room H-110. Entry is by donation.

Writer’s note: The term “womxn” is a feminist term to differentiate women from the “man/men” part of the word.

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The Same Difference looks past the labels

New Cinema Politica documentary looks at the biases rampant within the black lesbian community

Woman. Man. Black. White. Straight. Gay. Trans. Queer. The world is full of labels and boxes that attempt to define people based on their gender, race and/or sexuality. Those who don’t conform to these socially-accepted conventions make people uncomfortable, as they challenge these clear-cut definitions.

The Same Difference, to be screened by Cinema Politica next week, looks at how this notion of boxes and conformity remains rampant, even within marginalized groups.

Director Nneka Onuorah examines how black lesbians discriminate against each other, enforcing gender roles and stratifying the community according to heteronormative assumptions. The individuals who make up this community are broken down into two broad groups: masculine-projecting studs and feminine-projecting femmes. Anything that defies these two ‘types’ of lesbians is frowned upon.

The film is structured around four social ‘rules’ that exist in the black lesbian community. First, you must either be a stud or a femme. Nothing in between is allowed. Second, no stud-on-stud relationships. Third, no bisexuals. And fourth, no pregnant studs.

These social rules revolve around the same theme: gender roles, and the perceived balance of femininity and masculinity. To be a butch lesbian is fine—so long as you don’t date another butch or get pregnant, as that no longer conforms to the characteristics of the label.

The film is centered around the experiences lived by those who do not conform to these rules. This is where The Same Difference draws its greatest strength, as it gives a voice to those discriminated against or stigmatized for either how they present themselves or for who they choose to love. By zeroing in on those directly affected by the damaging and stringent guidelines that rule the lives of black lesbians, Onuorah shows just how harmful and unnecessary they are.

In addition to allowing those affected a platform to voice their discontent, the film also includes commentary from members of the black lesbian community who support these social rules. It offers their perspective as to why they believe these individuals do or do not belong to certain groups. Thus, the issue is examined from the perspective of both those who are affected by, and those who propagate the social structure.

In addition to screening The Same Difference, Cinema Politica will also screen Pariah. Directed by Dee Rees, Pariah tells the story of Alike (Adepero Oduye), a 17-year-old girl coming to terms with her sexual identity. The film, which portrays her tense relationship with her mother, who refuses to acknowledge that her daughter is a lesbian, won the Excellence in Cinematography Award at the 2011 Sundance Film Festival. This is the first time Cinema Politica will screen a documentary and a fiction film at the same time.

The Same Difference and Pariah will be screened in H-110 on Monday, Feb. 13, starting at 7 p.m. Admission is free, but donations are encouraged.

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MAJOR! A documentary about transgender power

Cinema Politica’s upcoming screening of the documentary MAJOR!, takes close look at the discrimination faced by transgender women.

Cinema Politica continues its legacy of screening truth to power through the lens of a trans-woman activist

Cinema Politica’s upcoming screening, MAJOR!, directed by Annalise Ophelian, aims to depict the struggles and abuse faced by trans* women of colour on a daily basis, particularly in prison. It won Best Documentary at the New Jersey LGBTQ Film Festival, the Queer Hippo International LGBTQ Film festival and the Boston LGBTQ Film Festival. The Kickstarter campaign associated with the film raised over $25,000, which provided the funds necessary to complete the project.  

The film, set in San Francisco, tells the story of Miss Major, a trans-woman activist who has dedicated 40 years of her life to fighting for the rights of the trans* community. Miss Major is a very animated person who never fails to make you laugh throughout the documentary. She brings light to very dark stories and gives hope to the hopeless. The film intertwines Miss Major’s personal story of becoming a trans* woman and an activist with the stories of people who have experienced violence and punishment for being trans*. MAJOR! showcases the courage of those who fight against the hate crimes and discrimination aimed at the trans*community.

The film separates the themes of the story into several “chapters” in an interesting way. From the first chapter to the last, the story teaches us about trans* rights and the everyday struggles trans* people face, while also exuding the love this community has for one another. Miss Major, also referred to as “Mama Major,” is the mother hen who brings all of this love together. She is the go-to person for advice, she helps strengthen those who need it, she cares about people’s experiences and she listens to those who come to her for advice or council. The chapters in the film provide valuable information about the The Transgender, Gender Variant & Intersex Justice Project—an organization run by members of the trans* community and previously directed by Miss Major—as well as other statistics about the criminal justice system and street economics, the term used to describe the methods which some trans* women have to turn to prostitution or drugs in order to make a living.

This film is a definite eye-opener. Even if you are well-aware of the discrimination trans* people constantly battle, you will certainly learn something new. Each and every one of the stories recounted in this film is unique and should be heard. Some of the interview subjects include Major’s previous romantic partners, her son and many of the people she has helped throughout the years.

The trans*community has countless stories to be told and MAJOR! allows for a few of these stories to be heard, including Miss Major’s. The film recognizes her for all the hard work she has done in her community. It shows us that she is a legendary advocate for trans*rights, and that never giving up is the true foundation of change.

Be sure to check out MAJOR! at this year’s Cinema Politica. It will be screened on Dec. 5 at 7 p.m. at Concordia in H-110.

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Drilling holes in the Atlantic Ocean

In Ireland, the fishing industry is constantly at odds with the interests of the oil companies.

New Cinema Politica film takes a look at how the Irish government destroyed its fishing industry

What happens when the ocean becomes a battleground between two interest groups vying for two different resources in the same location? This issue is discussed in the documentary Atlantic—Cinema Politica’s latest film screened at Concordia, where fishermen are at odds with oil companies.

Drilling for oil in the ocean is a dangerous affair that can have catastrophic consequences, as was made evident by the Deepwater Horizon disaster in 2010. The Deepwater spill was the largest oil spill in human history—causing a range of human, economic and environmental crises.

Funded by the Irish Film Board, Atlantic depicts the struggle of Irish fishers in their daily battle with oil companies. To understand the extent of the problem, the filmmakers provide political background to help explain the current state of the country’s fishing industry.

In 1973, Ireland handed over the regulation of its waters to the European Union after becoming a member. Irish fishermen’s original control of 23 per cent of the country’s waters was reduced to a mere four per cent. This sent a wave of frustration through the many communities left entirely dependent on the fishing industry—and the situation was only about to get worse.

The European Union began drilling oil in the fishing ground, something the local fishermen found appalling. It had worked in Norway—the government created Stat Oil, a state-owned, highly regulated company and the country’s successful oil exportation ended up being rather beneficial for its citizens. Such success, however, was the result of the work of great politicians, according to the documentary. This political strength was not present in Ireland.

In Ireland, the fishing industry is constantly at odds with the interests of the oil companies.

For one, the Irish government was not part of the decision-making process about drilling in its waters. In fact, the oil companies were the ones implementing the rules. This happened to be the case, because the Irish government wanted to export large quantities of oil in order to strengthen its economy thus they let the oil companies do what they wanted. The tax rates imposed on the oil businesses by the Irish government, more specifically Ray Burke, were the second most generous in the world. Given that these companies were not state-owned, oil exportation revenues did not profit the Irish economy, but instead were kept by the privately-owned companies. The politician responsible for this extremely loose regulation, the Minister of Foreign Affairs Ray Burke, was jailed in 2004 for tax fraud and corruption.

Furthermore, oil companies must generate underwater explosions every 10 seconds to locate the oil’s position. The operations are deafening and disruptive to mammals and fish who use sound waves to navigate, causing behavioural changes and loss of hearing. The fish population has substantially decreased since the start of these activities, putting strain on the ocean’s ecosystem and Ireland’s already struggling fishermen as shown in the documentary.

Atlantic is a beautiful documentary which showcases the ongoing battle between the fishermen and oil industries. With both after different resources in the area, tensions and disagreements were inevitable. The documentary leaves the viewer flabbergasted by both the imagery and the  lack of judgement of the politicians involved.

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Migrant workers in Canada: the new second-class citizens

Migrant Dreams looks at the inhumane way workers from abroad are treated in Canada

On Oct. 17, Cinema Politica will be screening Migrant Dreams, a documentary exploring the situation of migrant workers in Canada. The topic of immigration has been discussed at length in Canada due to the large number of immigrants accepted into the country. However, there is a difference between immigrants and migrant workers. Immigrants come here for permanent residence, whereas migrant workers come to Canada for seasonal employment. The topic of migrant workers is studied in Migrant Dreams (2016), a documentary directed by Min Sook Lee.

The documentary is set in Leamington, Ont., a common destination for migrant workers as there are several farming companies located in the area. The process begins with so-called agents, individuals hired as middlemen who look for workers to bring to Canada, recruiting foreign workers and having them sign a contract to work as seasonal farmers. These contracts are written in English, a language spoken by only a select few of the applicants who hail from countries like Indonesia, Guatemala and Jamaica.

In Leamington, Ont., migrant workers are threatened with deportation if they do not comply with the demands of their supervisors.

Once the workers arrive in Leamington, they are faced with the harsh reality of life as a migrant worker. They are bullied by their recruiters who demand up to 30 per cent of their weekly paycheck to cover their transportation and rent fees—unaware that these requests are illegal.

The documentary showcases the workers’ abysmal living conditions, including footage of 26 people sharing what seems to be a garage equipped with only three bathrooms. Some of the dorms are infested with cockroaches, and the employees are under constant surveillance by their employers.

However, not all the workers remain silent as their employers benefit from the workers’ naivety and desperation. In the documentary, Umi, a migrant worker from Indonesia, explains how she stood up to her boss and recruiter by renting her own apartment. Although she is now living in better conditions, she is still a victim of extortion. Her hours were reduced to discourage other workers from undertaking similar actions, and her employer still holds the threat of deportation over her head. Her apartment was even been raided by people who were looking for her passport.  Regardless, Umi is forced to continue working for this company, because Canadian law prevents migrant workers from seeking other employment once they’re in the country. Sadly, Umi is just one among thousands of migrant workers being exploited.

This documentary seeks to educate viewers and raise awareness about the extortion of migrant workers. Organizations, such as  Justice for Migrant Workers, promote farm workers’ rights and freedoms, but documentaries like Migrant Dreams are crucial for inciting political and social change as they discuss a topic too often overlooked by mainstream media.

Migrant Dreams will screen at Cinema Politica on Oct. 17 at  7 p.m.

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The Occupation of the American Mind

The film examines the brutal conflict and devastation that has affected the citizens of Gaza.

Cinema Politica’s latest screening focuses on the public relations of the Gaza-Israel conflict

There are two sides to every story and conflict. The Occupation of the American Mind explores the other side of the Gaza-Israel conflict—the side that pro-Israel North America doesn’t get to see. This visually-packed documentary, screened at Concordia’s Cinema Politica on Oct. 3, examines the pro-Israel public relations mandate within the United States.

Directed by Loretta Alper and Jeremy Earp, The Occupation of the American Mind analyzes the backlash against Israel’s invasion of Gaza from the majority of the world, and the pro-Israel political stance within American politics.

As if there were a public relations agreement between the U.S and Israel, the film claims the American media is only showing one side of the story. It opens with a jarring quote from former Israeli president Benjamin Netanyahu that perfectly sums up the purpose of the film: “It doesn’t matter if justice is on your side. You have to depict your position as just.”

The film begins with an explanation of the various treaties and wars that have led to the current Gaza-Israel conflict. Although heavy with political jargon, this summary is beneficial for anyone going into the film with very little knowledge of the conflict’s origins.

The film focuses on the unilateral conflict between Israel and Gaza, and, specifically, how American media is both manipulating the American public and being manipulated by the American and Israeli governments. With interviews from political activists like Yousef Munayyer and Noam Chomsky, the filmmakers sought to give a voice to activists who feel the media is demonizing their point of view. Munayyer references an interview in which he was verbally accosted by the news anchor for not giving the answer they were looking for.

The sights and sounds of the film may be graphic or triggering to some viewers. The film opens with a heartbreaking shot of an apartment building being destroyed by a bomb. The sounds of the ambulance sirens mix with the desperate cries of the injured and mourning. The filmmakers did not shy away from showing desolated homes and gut-wrenching images of those most affected by the conflict—the innocent civilians.

Monday’s screening was followed by a Q&A session with Sut Jhally, a professor of communication at the University of Massachusetts. He is the founder and executive director of the Media Education Fund, which was involved in the creation of the film. He also directed the 2004 documentary Peace, Propaganda & the Promised Land: U.S. Media and the Israeli/Palestinian Conflict.

Cinema Politica will be screening a second film this week titled The Last Omelette: The making of “The Land of the Enlightened” on Friday, Oct. 7.  For their full line-up, check out their website www.cinemapolitica.org.

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The revolution you didn’t hear about gets its screen time

At a time of questionable politics, music and rap bring a country together to oust a president-for-life

The Revolution Won’t Be Televised takes a look at how a president-for-life was brought down by democracy

The last five years have been politically eventful, starting in late 2011 with the unraveling of the highly mediatized Arab Spring. Every year since has seen its own political movement emerge, notably the Black Lives Matter and the Occupy movements of 2012. In the midst of those political events was a revolution in Senegal, one that was overlooked by the Western media. Senegalese producer Rama Thiaw took matters into her own hands by making a documentary about the political turmoil in her home country.

The Revolution Won’t Be Televised was screened on Sept. 19 at the season opening of Cinema Politica.

It tells the story of the Senegalese rap group Keur Gui that lead a political revolution in their home country. The groups’ members, Thiat (Cheikh Oumar Cyrille Touré), DJ Gardiaga and Kilifeu (Mbess Seck), were tired of the social injustice, the political corruptness, the endless cycle of poverty and the police brutality that plagued their country. Together, they created an association named “Y en a marre,” which roughly translates to “enough is enough.” Outraged, they planned peaceful demonstrations against the upcoming election campaign of President Abdoulaye Wade, a man who had enslaved his people for 12 years without any political opposition. The Revolution Won’t be Televised documents Keur Giu’s actions during the election and its aftermath.

At a time of questionable politics, music and rap bring a country together to oust a president-for-life.

What is highly refreshing about this documentary is its message and overall tone. It’s surprising lightheartedness showcases how commitment and self-sacrifice can reap social change. The interactions between the rappers are funny and quirky, and it is interesting to see a political revolution driven by music. The rappers are inspirational characters, speaking to their peers about how important it is to register and vote. Fans are asked to show them their voting cards during concerts and the group implores them to not sell their cards, a practice that is crippling their political system.

It’s also worth noting how these men completely transform once they are on stage. They become incredibly energetic, and Thiat becomes a Super Saiyan from Dragon Ball Z, based on the look of his hair. Their rapping style is aggressive and conveys the anger they feel towards their government leaders. As shown in the documentary, it is no wonder people took to the street after listening to their songs. Their lyrics are politically charged, including such statements as, “We are the victims of the crisis and true discrimination/I am fed up of this corrupt justice system.” These lyrics come from their song “Coup 2 Geule.”

During protests, the rappers would frequently tell their supporters to project a good image and to respect the policemen by saying “these men are men like us.” Thiat also values education and there is a scene in the documentary of him speaking to a classroom full of university students about the importance of being educated. The trio had no interest in becoming politicians—they just wanted people to not be cynical anymore and to start speaking out against injustice. Defying all expectations, their movement successfully managed to oust the president by encouraging the masses to register and vote.

What is shocking is the lack of media attention this revolution received. When asked about the lack of coverage by the international press, Thiaw said it might be due to the fact France did not want a “black spring” on their hands, and thus overlooked the revolution in Senegal. It is worth noting that Senegal was colonized by the French and gained its independence in the 1960s. According to the BBC, as a rather young country, Senegal has had its share of political unrest, but has been one of the most stable countries in Africa.

Thiaw edited the whole film by herself—the herculean task took her two years. She also did the whole post-production on her own, and the entire film crew was young and inexperienced. This lack of technical knowledge is visible in some scenes but does not take away from the impact the movie has on its viewer. Much like the rap trio presented in her documentary, Thiaw is someone whose determination is admirable. It took Thiaw and her crew six years to make the documentary, and they struggled to find funding since: “[the] cinema industry does not trust women when it comes to technical jobs,” Thiaw said.

Cinema Politica will present 13 politically-charged documentaries throughout the fall semester, and often holds subsequent Q&A sessions with the filmmakers. Cinema Politica’s upcoming documentary is called Seed: The Untold Story on Sept. 26 at 7 p.m in the Hall building (room 110). The film looks promising, it tells the tale of the seed industry and how Monsanto’s monopoly has forever changed the face of farming.

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Injustices in our own backyard

The Secret Trial 5 tells the story of five men arrested by Canadian authorities without actually knowing why.

The Secret Trial 5 takes a look at Canada’s unethical security-related legal practices

The majority of you reading these words are probably not going to end up spending multiple years in jail. If you were to, the chances are that you would know what you were being charged with, and hopefully have a fair trial.

When compared to other parts of the world, Canada is generally considered to be a country that has a strong, fair justice system. However, the individuals in The Secret Trial 5—next week’s Cinema Politica screening—didn’t receive this expected treatment.

The Secret Trial 5 tells the story of five men arrested by Canadian authorities without actually knowing why.

The movie examines the cases of five men who were imprisoned in the name of a “security certificate.” This is a section of Canadian law that is applicable only to non-residents, and as refugee immigrants these five men were subject to it. This certificate allows for individuals to be held in indefinite detention because of so-called secret evidence that is not revealed to them or their counsel. They are asked to legally defend themselves without any knowledge of what they are charged with. The film follows the stories of these five men and their experiences in prison, under house arrest, and within the judicial system of Canada. The Secret Trial 5 does not make a case for the innocence of these individuals, but instead calls for inspection of the unethical judicial conduct in their situations.

Evidence was gathered in secret against these individuals; they were tried in secret, and the arrests occurred unexpectedly. Their families and friends were transformed into full-time activists overnight, helplessly fighting for justice for years. Throughout this struggle, the men didn’t ask for all charges to be dropped—rather, they asked for a fair trial. Fair, in the sense that they would be given more information than the notion that they could possibly present a threat to national security in one way or another.

In the end, these men were never actually proven or even charged as guilty. Even if no longer behind bars, these men’s names are still permanently tainted, and the cloud of suspicion around them will never fully dissipate.

Documentaries are powerful cinematic tools that have the ability to edit materials to favour one side of an argument or frame a situation in an empathy-inducing manner. Although, to a degree, this film enacts these strategies to make its case, its appeal is more analytical. It looks at the facts of the cases in terms of fairness and human rights. This documentary allows for the understanding of an ongoing situation in which a difference can still be made. None of these men have officially been charged with a crime and some are still under house arrest to this day.

Even if the film doesn’t inspire you to militate for their cause, it starts a possible reflection on our judicial system, ethical laws, and our preconceived notions about criminal justice. Law is a powerful tool for preventing harm and criminal activity not only in Canada, but also in every country considered to be fair to its populace.  However, it is essential to inform oneself and understand how judicial practices can become misguided, unconstitutional or unethical.

The Secret Trial 5 will be screened by Cinema Politica on Nov. 14. For more information, visit cinemapolitica.org/Concordia.

Categories
Arts

Abortion at sea, the story of Women on Waves

Vessel shares the tale of women’s rights activist Dr. Gomberts helping all around the world

How can the obvious become disputable? How can a basic human right for a Dutch woman become an assault course for thousands of other women around the world? Vessel tells such a story and the fight of Dr. Rebecca Gomperts.

Diana Whitten’s documentary movie follows the trials and tribulations of Women on Waves, a Dutch organization led by Gomperts. This organization takes advantage of international marine law to provide legal and safe abortions to women who live in countries where abortion is illegal.

Winner of the South by Southwest Film Festival’s Special Jury Recognition for Political Courage award for documentary, Whitten made a portrait from inside of the 15-year history of the organization. Using her own camera as well as footage filmed by previous aspiring documentarians who boarded Gomperts’ ship, Whitten succeeds at bringing us into the depths of the vessel. It also presents intelligibly to the audience Women on Web, the organization that was created to share informations about safe abortion around the world.

“If men could get pregnant, there wouldn’t be abortion laws,” said Gomperts to The Times last week. The doctor keeps promoting and developing the underground network of emboldened, informed activists, working at the radical cutting edge of global reproductive rights, who trust women to handle abortion themselves. Polish activist Kinga Jelinska mentions at the end of the movie that Women on Waves has received an increasing number of inquiries from the United States in recent years.

Even if animated sequences with medical and statistical details provide valuable context, some detractors may find that the subject would need a more distanced approach. But if you want to change people’s minds, you need to bring them inside the reality.

That is one goal of documentary cinema: to show a reality. Vessel does exactly that, even it it means not being objective. Vessel is the reality of activism, with its successes and defeats.

This documentary movie is a must-see for anyone interested in human rights or activism. It keeps reminding us how a right is never totally gained and must always be fought for to assure its preservation.

Vessel premieres in Quebec as part of Cinema Politica Concordia on Monday, Nov. 3, at 7 p.m. in the Hall Building, 1455 de Maisonneuve W. The movie is co-presented with Fédération du Québec pour le planning des naissances and the Concordia Centre for Gender Advocacy. The director will be in attendance for a post-screening Q&A.

For more information, visit cinemapolitica.org.

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