2010 Film Festival

My Neighbor, My Killer: Program Notes

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January 6  |  2010 Film Festival, My Neighbor My Killer  |   julie

My Neighbor, My Killer | Human Rights Watch Film Festival
The man who killed your family is now living beside you. How do you restore a sense of a just and civil society when you survive a genocide?

Rwanda faces this struggle. In 1999, five years after more than half a million Tutsis were brutally murdered by Rwandan Hutus, the government introduced Gacaca – a process where open air hearings and citizen judges try members of the community for atrocities they committed.

This social experiment permitted confessed genocide killers to leave prison and return to their homes amongst surviving Tutsis. Survivors are asked to forgive them and resume living next door to those who may have raped or killed members of their own family.

Award-winning filmmaker Anne Aghion follows this process and the impact it has on a small hamlet over the period of a decade. The raw anger and emotional wounds that may never heal are visible and difficult to witness. It becomes clear that there is no simple solution to reconciliation. Both the victims and perpetrators understand that the path to coexistence will be long and difficult, and this gripping documentary follows this journey with compassion and conscience.

Program Notes by Alex Rogalski

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Welcome: Program Notes

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January 5  |  2010 Film Festival, Welcome  |   julie

Welcome | Human Rights Watch Film Festival

Young Kurdish refugee Bilal (Firat Ayverdi), is driven to escape his war-torn life and begin anew in England.

His journey is stopped short on the shores of Calais, France, but his determination to reach his girlfriend across the channel is fierce. Treated as an outsider by his fellow refugees, he is befriended by swimming instructor Simon (Vincent Lindon), a man who has chosen his isolation, but warms to Bilal’s passion to reach his true love.

We enter the world of refugees caught between worlds, trapped in a place where they are living in fear, and those who risk helping them face retribution.

Ayverdi’s performance is an impressive debut, conveying a combination of desperation and hope that a future holds promises that will erase the abuses of his past. Although the film centres on the friendship that grows between Bilal and Simon, it is clear that their situation is not an isolated case. Bilal is one of thousands traversing Europe under cover and by any means necessary, while authorities hunt down refugees who have avoided the bureaucratic and seemingly impossible processes that would allow them safe passage.

Welcome highlights one of the perils of globalization — that migration of the persecuted can result in continuing the suffering that they sought to escape.

Program Notes by Alex Rogalski

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Be Like Others: Program Notes

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January 4  |  2010 Film Festival, Be Like Others  |   julie

Be Like Others
Nominated for the Grand Jury Prize at Sundance and accorded three Teddy Awards at Berlin, the documentary Be Like Others reveals the restrictions and painful choices forced upon individuals confined to the fringes of Iranian society.

Gay Iranians live under religious edicts that give them false options: either choose to live as a homosexual and risk being caught in an offense punishable by death, or be diagnosed as a transsexual, allowing you a government-sanctioned sex change.

Director Tanaz Eshaghian follows the intimate journeys of several young men (and one woman) at a sex-reassignment clinic in Tehran that provides them with the hope that an operation will lead to a more public life without persecution. These patients’ lives are fraught with physical and emotional turmoil. Many are shunned by their families; others have life-long physical pain from post-operation complications.

Educating and counseling them (and the viewer) through the process is Vida, a post-op woman who says the one thing that has allowed her to survive the process was the support of her family. Not only do we witness the pain of these patients, but we see the strain on family members, whose love for their children is challenged by societal pressures and fear for their futures.

Program Notes by Alex Rogalski

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Triage: Program Notes

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January 3  |  2010 Film Festival, Triage  |   julie

Colin Farrell and Jamie Sives in Triage

“It is only the dead who have seen the end of war.” This quote from Plato shadows the story of Triage, Danis Tanovic’s latest exploration of how battle alters the human heart. But unlike his Academy Award-winning No Man’s Land, this new drama follows not the soldier but the chronicler.

Colin Farrell plays Mark Walsh, a war photographer in the late eighties. High in the arid mountains of Kurdistan pursuing a war without borders, Mark and David (Jamie Sives) witness and capture horrendous images, from combatants pulverized by ammunition, to a doctor who works heroically to save the wounded but shoots dead those he knows he can’t help.

Worse, the friends begin to disagree over whether to stay or flee the chaos. Eventually they separate and lose contact, and Mark must return home to Ireland alone.

Triage is a slow burn, gathering more and more emotional impact as it goes. Working at the centre of this moving character study, Farrell is terrific. But it is Christopher Lee as Walsh’s therapist who is the revelation, giving perhaps his most detailed dramatic performance of a very long career.

Program Notes by Cameron Bailey

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Last Train Home – Program Notes

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December 13  |  2010 Film Festival, Last Train Home  |   julie

Human Rights Film Festival | Last Train Home
Thousands of migrant Chinese workers crowding a train station in the midst of a holiday pilgrimage, racing from factory cities to return to more peaceful rural homes. These astonishing images frame Last Train Home with a sense of surreal urgency.

From a scale of anonymous thousands, director Lixin Fan focuses exclusively on one family, personalizing the costs of China’s painful transition to become an industrialized nation.

The victims are many, but as the central character in this powerful documentary, young Qin Zhang clearly embodies the fallout of a generation of separated families.

She has grown up without parents present in her daily life.  Seeing them only on holidays, family traditions show the strain of separation and the poverty Qin’s parents want to escape. While they work for low wages in the city, she has grown up in her ancestral village.

Despite her parents’ sacrifices to work and provide her an education, Qin feels her parents have only cared about making money. This young girl, years from adulthood, sees no alternative but to follow a path to become yet another migrant worker, working in abusive conditions for little pay.

From the producers of Up the Yangtze, Last Train Home is another insightful but unobtrusive observation of the damages caused by China’s frantic race towards industrialization.

Program Notes by Alex Rogalski

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