Earth Day & Best of the Fest Connection

The Golden Harvest will have an encore screening at the Minneapolis St. Paul International Film Festival as part of the Best of the Fest screenings–Super!

Wednesday, April 24 at 4:50 pm at St. Anthony Main:

https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=436771~36893ed1-b0b9-423c-bbab-90f22d0aeafe&epguid=78d5df86-076b-41eb-9b27-8d9e012642d6&

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Trees grow in White Bear Lake

 

I lived in a house only once in my life.  For three years. It was in Minnesota in what was a kind of small town back then called White Bear Lake.  I was six but I still remember the couple who lived in the house before us saying to my parents that they never had a chance to plant the yard because they had their hands full with a teenage girl that was always in trouble.  That’s why they were moving.  I wanted to know more about that girl but I was sent out to that empty yard.  A few years ago, I went to a look.  They were little stick trees when we moved away.  Today, the trees are taller than the house.  No olive trees, but a great apple trees.

So it fits that The Golden Harvest, which was inspired by dad’s love for trees, will play again at the Minneapolis St. Paul International Film Festival as Best of the Fest.

GETTING HERITAGE IN WRITING: This Month’s Aramco World Cover Story

These are just some thoughts of mine after my third visit to Cape Town, this time to write this month’s cover story for Aramco World Magazine https://www.aramcoworld.com/en-US/Articles/March-2019/The-Handwritten-Heritage-of-South-Africa-s-Kitabs

Cape Town's Bo Kaap

Celebrating Heritage Day in Bo Kaap

The first time I saw the Western Cape, I thought “This looks just like Los Angeles,” and then I thought, “This looks just like Lebanon.”  I’m not just talking about the magnificent mountains and endless sea. The townships remind me of the camps in Lebanon, certain Cape Flats areas remind me of Compton, and Simons Town, with its dramatic cliff homes and a local museum hosting a meditation workshop with Tibetan chanters, reminds me of Santa Monica.  But South Africa’s landscape is all its own, mired in a history all its own. Historian Joline Young has been digging through Western Cape Archives for 20 years to recapture the town’s history, as the archives had been closed to non-whites during Apartheid. As we were walking through Simon’s Town one Saturday afternoon, “We have generations of trauma in our genes.” While that’s not biologically possible, you see a lot of people chasing their genes. That afternoon we ran into a 50-year old woman, Shirleen, whose mixed-race family was relocated (forcibly removed from Simon’s Town) during the Group Areas Act.  This was her first time here, and she and her husband were trying to figure out where her uncle’s fishing restaurant would have been.

Simon's Town

Simon’s Town’s Harbor

Zainab Davidson, better known as Auntie Patty, would have had an answer.  She literally mapped the whole town from memory, which inspired her to turn her family home, Amlay House, which was confiscated during the Group Areas Act, into the Simon’s Town Heritage Museum, dedicated to preserving the Muslim heritage of the town. She is part of the story in “The Written Heritage of South Africa.” She was 60-years old then.  She’s 84 today, and lives above the museum with her husband.

I sat down one day with a sheet of paper and I drew a map of Simon’s Town, all the roads, just to see if I still remembered who lived here.  I remember the old fisherman, and the old Dutch church, and I remembered lane by lane the cottages, and bigger houses over there.  And I took all lanes and went house by house until I had this whole map of our community here in Simon’s Town and it ended at Simons Town Station. Yeah.  And then I said to my husband, man I want to start our own museum. –Zainab Davidson (Auntie Patty), interviewed at Amlay House in September 2018

Full House for The Golden Harvest Debut at the Thessaloniki International Film Festival

fullsizeoutput_117e(March 14, 2019) The Golden Harvest (2019, 85 min) made its debut on March 4, 2019 at the Thessaloniki International Film Festival to a full house.  The screening was followed by a lively Q & A that continued onto the pier along the fabulous arthouse area of the city where the majority of the festival takes place.

Greeks have the highest consumption of olive oil in the world, so it is no surprise that the audience reacted with tears and laughter to The Golden Harvest, which weaves the 6,000-year old love story between the people of the Mediterranean and their olive trees through personal tales in Palestine, Greece, Italy, Spain and Israel, including that of the filmmaker’s father.

“We are delighted that the film debuted in Thessaloniki, one of the top 10 international film festivals, and in a country where part of the film was shot,” says Alia Yunis, the director/writer.

The Golden Harvest is not just a foodie film, although there is plenty for foodies to savor, including learning from one of the top tasters in the world how to evaluate oil. But through a unique cast of characters, the film tackles the social and political dimensions of olive trees, including environmental issues, war, globalization, the European Union, marketing and branding, and Fair Trade, all of which impact this genie in a bottle.

“After seeing this film, I changed my mind about selling my family’s olive trees,” one audience member announced during the Q & A.

Alia was joined on stage for the Q & A by Pavlos Georgiadis, who is the youngest farmer in Makkri, his village in the Thrace region of northeastern Greece.  His family is one of the many families that the film introduces to viewers.

“This film was inspired by my dad’s love of the olive tree, and I started noticing when talking to others with roots in the Mediterranean that the mention of olive oil opens up their souls and uncorks to their own heritage,” Alia says. “We shot over 80 hours of footage over four years, and the stories just kept coming.  This is just a taste of all this tree can tell us about ourselves.”

The film is next schedules to play at the Minneapolis St. Paul International Film Festival in April.

For further information, please contact info@goldenharvestfilm.org  and/or visit www.goldenharvestfilm.org

To contribute to the financing still needed for the marketing and distribution of the film, please visit the non-profit, UNESCO member NGO collecting funding for the film: https://www.heritage-activities.org/food-and-heritage  All individuals and institutions who donate receive a mention in the thanks, as well as their logo in the credits, if desired.58a06575-73ad-4593-96d9-d16c30aadec9

The Schedule for Thessaloniki International Film Festival

POSTER-GOLDEN HARVEST GreenWe are delighted that The Golden Harvest will make its international debut at the Thessaloniki International Film Festival .  Please join us if you can!

For more information, visit:  https://www.filmfestival.gr/en/movie/movie/11920

TONIA MARKETAKI 04 March 2019 15:30
JOHN CASSAVETES 05 March 2019 12:45

BEING THE LUXURY ITEM OF A BRAND

I once asked the editor of the liberal newspaper where I was doing my undergraduate internship in Minneapolis to write a letter of recommendation for me.  The recommendation was sealed and it was a couple of years later before I would come across it in my file at work.

I had assumed the reference letter would be spectacularly glowing.  And it was, but not in the way that I had expected.  At 20-years old, I had come in as an intern but ended up  doing investigative pieces that landed more than once on the cover.  This was because soon after arriving, I was quickly asked to field the story leads that were intended for the paper’s star reporter, who had gone into rehab for longer than his usual time.  The other star reporter had quit because she wanted to have a life.  The rest of the staff specialized in arts coverage.  That just left the eager-to-prove-herself intern.  I dug deep and developed stories on a family crushed by mental illness,

One Brand Fits All

One Brand Fits All

Haitian drug dealers stuck in Minnesota prisons, and I interviewed the patients of the first heart and lung transplants in the world, who shared their stories publically for the first time with me.

None of that was mentioned in the letter of recommendation.  Instead, the editor wrote three moving paragraphs about how impressed she was with me–not with my stories but with my ability to do the stories at all– being as I was Muslim female.  I do not believe I ever once talked to her about religion nor do I remember anyone asking me about my religion.  Obviously, my Arab ethnicity came up always with the inevitable question, “What an interesting name.  Where did it come from?”  But there were never questions about my religion.  At least not in front of me.  And I wore no physical manifestations of my religion, and religion, mine or anyone else’s, wasn’t a subject I found remotely engaging at the time.  This was also years before 9-11, when you rarely even heard the word “Muslim.”

Yet I had been branded: a Muslim female, i.e. the most pitied female brand.  The editor wrote of how she had so much admiration for how I, a young Muslim female, could talk to just about anyone, even the strippers and hookers I befriended for a story.  Perhaps I was slightly shy around men but that was understood, implicit in my religion’s shunning of women—at least that’s what the subtext pretty clearly said.

So there was purity implied in my Muslimness—that explained why I wouldn’t be exposed to strippers and hookers as a Muslim, and I would get flustered around men.  If anyone had asked me, I could have told her Christians don’t have the domain on prostitution.  There are Muslim hookers out there.  But I wouldn’t have mixed with them either under normal circumstances.  Because I had grown up in middle class neighborhood that weren’t the chosen milieu for hookers, at least not publically, whatever their religion.  My face turned red talking to handsome men because I was a chubby girl with low self-esteem from years of fat jokes—Muslims make those, too.  I was glad, though, the editor appreciated how I dressed professionally, because somehow, I read between the lines, I had some fashion sense that didn’t involve a black cloak.

She admired me—I was an exclusive, limited edition designer brand of Muslim female, the token one who wasn’t afraid to break away from my oppression and work as a journalist who talked to non-Muslims.  I was brave, yes.  But so would any shy young woman who did those stories.  But it was my defiance of my religion, which I didn’t even know I was defying, that made me brave in her eyes. Proof that it is possible for one black cloth not to fit all.

I leaned more at that newspaper than in any of my classes that year, including the lessons from the abused women in homeless shelters whose stories I told.  (I never mentioned the religion of those women in those articles.  They were not Muslims, though.)  But I taught no one anything.  Because I didn’t know I was a poster girl for Muslim Women We Admire, and that we (the deprived sisterhood of Muslim women that I didn’t even know existed, let alone was a member of) are all viewed as an inferior brand and in need of saving and rebranding, unlike other types of women.

I hadn’t thought about this in years.   Until I saw this article by Lila Abu Lughod http://ideas.time.com/2013/11/01/do-muslim-women-need-saving/

Ketching Up With Freedom

Freedom is the gotcha word of the Middle East decade—it’s the reason everyone is claiming to be helping—i.e. bombing, maiming, spying on and killing–everyone else.  The definition of freedom (and its purpose) is a little vague under the circumstances.  But I was set straight this past summer.

ketchup

Ketchup in Jordan

I was on an airplane and sitting next to me was a 10-year old boy, born and raised in Houston, but his parents were born in Jordan.  It was a 10-hour flight and he had already seen all the inflight movies as he explained to me at length with a synopsis of each.  Thus, any time he could find a way to get me to play a video game with him or talk, he jumped at the chance.  My freedom was gone.

Generally speaking, I allow myself to lose very quickly at video games, mostly so I can stop playing them.  But at one point I was doing well despite myself.  So to break the game I started asking him questions.  This kid had answers for everything and so I was out of the game and into discussion.

After he told me he visits Jordan every other summer to see cousins, aunts and uncles, I asked him if he liked Jordan or Texas better.

“Texas for sure,” he said without hesitation.

I asked him why and he replied,  “It’s fun seeing family because we don’t have many relatives in Houston.  But there is a lot more freedom in the US.”

Apparently we moved from Temple Run to a discussion about how relatives in Jordan butt into your business all day or a socio political discussion.  “How is there more freedom in the US?” I ventured.

He shrugged like it was obvious.  “In Jordan at the McDonald’s you have to pay for the extra ketchup,” he said.  “In Houston you can have as much ketchup as you want and it is free.”

“At McDonald’s you mean?” I said.

“It’s free everywhere in America,” he said.  “Don’t you know that?”

I actually didn’t.  But now I do.  Or maybe I just never thought about ketchup beyond my French fries.  Forget heavily loaded uses of freedom, like Freedom Fries, which free ketchup services.  This boy made freedom simple—unless you want to ask yourself what gives McDonald’s the right to charge people in one country for ketchup and not in another.

Go Ahead and Film Me—Nothing Changes

“So what are you here to film?” he asked from his battered bamboo chair, as he exhaled from the stub of the cigarette in his hand, the smoke blending in with the dust sweeping through the camp.  He was about 40, and had been sitting in that dark alley his entire life.   One of my students took his picture.  He looked at her, Shatila“You should ask me to smile,” he said and smiled, revealing crooked and broken teeth.  She got flustered.  He shrugged, “Film whatever you want.  People have been filming me since I was three-years old.  Me, my dead relatives nothing changes.  You make your film, you show everyone the sad poor people and I’m still sitting here in this chair.  Nothing changes.”

Almost anywhere else in the world, you would tell him, “Get a job, any job, have some pride,” but there are few legal jobs for people in the Shatila Refugee Camp.  They can work odd construction gigs under the table in Beirut, which many of them do, or they can operate a small business in the camp, such as a grocery store, where they can sell cheap food to people who can barely afford to pay for it. Or their parents in rare cases can somehow find the money so that they can go to a college outside the camp, and come back to work in a hospital or as a teacher in the declining education system.  Or they can just sit on a bamboo chair.  Nothing changes.  Unless perhaps they get immigration papers to go to Europe or America.   (For statics on life in the camps, check out Franklin Lamb’s article in Counterpunch:  http://www.counterpunch.org/2013/05/13/can-richard-falk-achieve-civil-rights-for-palestinians-in-lebanon/)

The father of the family we were going to film scavenges through junk piles in Beirut, bartering and trading junk to furnish their dim and dank cramped room/house.  His wife, Sabah, keeps the room meticulous, and we’re asked to take off our shoes as they are covered with dust from outside.  Sabah explains proudly how she decorated with her eldest daughter, Reem, 15, who dreams of being a designer but will not live long enough to realize her dreams would not have been attainable because she would never have had the opportunity or training required.

It’s the women in the camps that hang on to hope, despite being betrayed by either the stupidity or insincerity of the Palestinian leaders of their parents’ generation, who engaged in the Lebanese Civil War for no logical reason and sending them into further isolation and devastation, despite being the keepers of the rusty keys of their family homes in Palestine that their grandparents took with them during their expulsion from what is now is Israel.  They are the third generation born in these camps, and while the hope of a return home is almost beyond their grasp of those old keys, the hope that at least one of their children will find a way out allows them to live.

In Ain Al Helweh Camp, the women sew Palestinian embroidered pillows for sale abroad during the two hours the camp gets electricity.  The bright spring sun barely makes it through the clusters of blocks on top of blocks and even with the electricity, the women squint to see their stitches.  They are undisturbed by the two seven-year old boys outside beating each other up as an affordable form of entertainment.  They are not fazed when the camp goes into lockdown because the Lebanese army suspects a renegade group of having smuggled arms into the camp the night before.  As our Lebanese taxi driver warned us on the way, Ain Al Helweh is where the “criminals of the world” go to hide because there is no law here.  ShatillaCamp

In Bourj Al Barjneh Camp, when a Syrian man came into the crumbling hospital carrying his six-year old wounded son, the female nurses didn’t ask him who shot the boy.  They just did their best to prep him for surgery and calm the father down.  The women of the camps are born and then marry, feed their children and hope.

We were there that week because we were filming patients of the Palestinian Children’s Relief Fun, a US organization that sends volunteer medical teams to operate on some of the sickest kids in the camps.  That week the team was two orthopedic surgeons and an anesthesiologist, all from Chile.

You can see the doctors in  “Dreams in Their Eyes” in Los Angeles.  I’m proud of what my students had the courage to explore with this film.  But I will leave you to this blurb.  Otherwise, it is hard to talk about because I always hear the man in the battered bamboo chair.

 The award-winning documentary (UAE/Lebanon)“Dreams in Their Eyes,” will play at the Evolution International Film Festival on Saturday, July 27, at 1.30.   The film portrays the stories of three children in different refugee camps around Lebanon suffering from diseases too costly to treat if not for the help of the US-based Palestine Children’s Relief Fund.  With unprecedented access to operating rooms and family homes, the film was shot over a week when a volunteer team of doctors from Chile came to treat Lebanese, Syrian and Palestinian children brought to the Bourj Al Barjneh Camp.  Three young Emirati women directed the film, the first Emiratis to film in the camps, and the film won “Best Emirati Film” at the 2012 Abu Dhabi Film Festival, in addition to having screened at festivals in the UK, India and Spain.

This year over 300 movies out of 26 countries, in 22 different languages were submitted to festival. The final selection includes 24 films in 10 different languages, many with a Middle East theme.

Saturday July 27th, 2013

1.30 to 3.30 pm 

Los Angeles Film School
6363 W Sunset Blvd
Los Angeles, CA 90028

For more information: 

http://www.evolutionfilmfestival.com/