In 1920, Jaidev Verma is a famous poet who lives the life of a loner as he is unable to meet the love of his life, Smriti. They got to know each other through an exchange of letters and slowly fall in love. One day, Jaidev receives a letter informing him that Smriti had died by an accident. Now his sister Karuna is the only support system that keeps him motivated. One day Jaidev finds an unconscious girl near a lake and brings her home. After gaining consciousness, she is unable to remember anything from her past life except Jaidev's poems. Karuna becomes skeptical of her presence in the house and gets even more so when the keeper of the cemetery warns them of an evil spirit inside her.
Renuka Vyavahare of Times of India gave it 3 stars. "1920 gives you the creeps...watch it." said ToI.[11] Rediff Movies said "1920 Evil Returns is yet another needless horror film. It's cold and bland." and gave it 1 star.[12] Roshni Devi of Koimoi gave it 2 stars. "Watch it only if you're desperate for some uninspiring horror. Give it a rest otherwise." wrote Roshni Devi.[13] Social Movie Rating site MOZVO gave it a rating of 2.3 putting it in 'Below Average' category.[14] Taran Adarsh of Bollywood Hungama gave it 2.5 stars.[15]
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BETWEEN THE LINES:
1996, 30 min, 2", Color, M,H,U.
As the film's narrator explains, it tries to present "a more objective delineation" of Iran and Iranians, a worthy subject considering the typical American media images of the country in the nearly two decades following the revolution. The presentation is a bit stilted and amateurish, but the topic is important and the production an earnest one. This video addresses in particular the film Not Without My Daughter (1990), a TV movie based on the true story of a American woman who returns with her Iranian husband to post-revolutionary Iran, and is prevented by Islamic laws from leaving the country with her daughter. Includes comments by scholars, writers, and women married to Iranian men who have chosen to live in Iran, though no Iranians are interviewed. A platform for discussion on how media -- especially non "news" programs like movies -- shape our perception of other cultures and peoples. [AGF] Provided by the Iranian Mission to the UN (no director listed).
THE DEAD WEIGHT OF A QUARREL HANGS:
1991, 19 min., 2". Color.
A description of this film is not available.
THE DISPUTATION: A THEOLOGICAL DEBATE BETWEEN CHRISTIANS AND JEWS:
1993, 65 mins, 2" Color, U,G.
Public theological debates between Christians and Jews were a frequent feature of the Middle Ages. This program recreates one of the most famous, the Barcelona Disputation of 1263 between Moses Nahmanides and the apostate Pablo Christiani. Written by Haim Maccoby, the film is well-researched and avoids melodrama. The disputation scenes are interspersed with conversations between key players that provide historical context. [CEH] Produced by Films for the Humanities.
A DOOR TO THE SKY [Bab Al-Sama' Maftuh]:
1989, 107 min., 2" Color.
Arabic w/English subtitles U,G
In this cinematographically breathtaking film, Nadia returns from Paris, where she is a student, to her family home in Fez, where her father is dying. In the period following her father's death, she is disturbed by visions that are interpreted as a call to Islam. She decides to remain in Morocco and turn the family home into a shelter for abused women. Women seek refuge there, and when it seems that they will establish a strong and self-sufficient unit, Nadia runs off with a young man whom she had been called to heal. Many Arab women are writing about the importance of sisterhood but few have written about the establishment of an all-women's community founded on Islamic principles (although the director seems to insist that a feminist utopia within an Islamic context must ultimately eschew segregation). This film will be of particular interest as one example of Islamic feminism. [MC] Directed by Farida Ben Lyazid.
A DREAM OF JUSTICE AND PEACE WITH HANAN ASHRAWI:
1995, 52 min. 2" Color H,U,G.
Framed by the story of Hanan Ashrawi, a former spokesperson for the PLO and key delegate on the 1991 Madrid negotiating team, this is a fascinating Palestinian narrative of contemporary "peace issues" that began decades ago. With archival footage and interviews with major Palestinian and some Israeli political figures, this video offers a history of Palestinians' efforts -- the sidewalk news conferences in Madrid, the "Palestinian Speech" -- to be recognized as a people with legitimate rights and interests. This discussion is enriched throughout by early footage of and interviews with Ashrawi from her student days at the American University of Beirut; her term as dean of faculty at Birzeit University; and in her current role as founder of the watchdog group, the Independent Commission for Citizens' Rights. A way to understand a part of Palestinian history through the work of one of its major women leaders. [AGF] Directed by Christopher Swann. Produced by Daoud Kuttab and Ray Bruce.
DREAMING A NATION: THE KURDS Nationalism: Blood and Belonging series:
1994, 50 min., 2", Color, H,U,G.
The researcher for this film is Sheri Laizer, author of Into Kurdistan: Frontiers Under Fire (Zed Books, 1991), which is part travelogue and part political commentary. The film has mainly been shot in the Iraqi and Turkish parts of Kurdistan and contains interviews with politicians as well as lay Kurds from parts of Iraqi, Turkish and Iranian Kurdistan. The film addresses how Kurds have managed to survive for more than four millennia, especially during nationalist clashes in recent decades (with Turkey and Iraq). Includes footage of the fledgling democracy in the de facto Kurdish state in northern Iraq and a few graphic scenes of the 1988 gas massacre in the Kurdish town of Halabja. There is rare footage of the training grounds for female fighters of the Kurdish Workers Party, which seeks a "socialist, feminist and secular Kurdistan." [AF] Produced by Films for the Humanities.
LIFE & NOTHING MORE:
1992, 91 min., 2", Color, Farsi w/English subtitles.
This is the second film of the trilogy by Abbas Kiarostami (The other two are "Where is the Friend's Home?", and "Through the Olive Trees"). Set in Koker after the earthquake, this amazing film explores the power of life, and at the same time reflects upon the relationship between life and cinema. A film director and his son set off from Tehran, heading for Koker in order to look for Ahmad, the little actor of the first film, "Where is the Friend's Home?". Most of the film was shot through the car windows, a metaphor of the camera and the postion of the audience; the director with his son in their "secure" car, and we, the audience, in "safe" theaters are witnessing life. This style of shooting allows to underscore the voyeuristic aspect of cinema, and to question the meaning of filming life. Closer to a documentary, the film consists of scenes from the ruined villages and conversations with the survivors of the catastrophe. Through this very realistic composition, the film in a most impressive and touchy way suggests that life goes on despite everything. While scanning the site of the earthquake behind his camera, Kiarostami throws a humorous and compassionate glance at the attempts of human beings to make life goes on. In a scene, for example, he captures bitter-sweet rush of the people of a village completely turned into piles of stones as they try to set a TV antenna with the hope of watching Brazil-Argentina football match in the worldcup. Emphasizing the continuity of life, the film ends in the middle of nowhere, in the middle of life...
LINES IN THE SAND:
1990, 12 min., 2", Color, B&W, H,U,G.
Two themes run though this vivid and succinct film. The first is the discussion of the U.S.'s response to the Persian Gulf Crisis as a type of national therapy session, laying to rest the unquiet ghost of Vietnam. The second theme focuses on the shaping of Americans' perspective by media coverage -- especially television -- much of which was carefully sculpted by the Pentagon. The video not only evokes specific discussion of the media's role in the Gulf War, but demands further discussion of the part it plays in other global concerns -- Somalia, Haiti, Bosnia -- and all war-torn areas. [CNES] Directed by Laura J.E. Morini for Griffin-Wirth Associates.
LION OF THE DESERT:
1991, Part I: 91 min.; Part II: 68 min., 2", Color, H,U,G. Plus a documentary on the making of the film, 32 min.
This historical feature about Umm Mukhtar and the 1930 resistance to Mussolini's occupation of Libya is one of the best films for a view from the indigenous side of the colonial project, although the English version uses Western actors to portray many Arab roles. Includes Anthony Quinn as Mukhtar, Rod Steiger as Mussolini and Irene Papas as Mabrouka. [CNES] Directed and produced by Moustapha Akkad.
ODYSSEY: DADI'S FAMILY:
1981, 60 min., 3/4", Color, M,H,U.
A portrait of a woman's life, aspirations, and constraints she experiences as a member of a Hindu family in a rural, agricultural setting in northwest India.
THE OIL KINGDOM SERIES:
1984, 60 min. each, 2", 3/4", Color, H,U.
This series on Kuwait, Bahrain, Qatar, the United Arab Emirates and Oman is hosted by journalist Jo Franklin-Trout using on-site interviews. Her goal is to demythologize this area for Americans, offering insight into contemporary social life as well as politics and plans for the future. But there is confusion, at times, about exactly where she is! [UNC] Produced by PBS/Pacific.
Part I: Kings and Pirates:
The historical background of "commerce, colonialism and culture" of the Gulf States -- from Portuguese conquest through British hegemony --leads to discussion of the discovery of oil and the impact of the petrodollars on the modernization process. [UNC]
Part II: The Petrodollar Coast:
Franklin-Trout visits Oman, a nation described as "medieval" in 1970, but now miraculously modernized. Interviews in the United Arab Emirates address the role of women and issues concerning foreign workers. [UNC]
Part III: A Sea of Conflict:
This video documents the volatility of the smaller Arab Gulf States, their vulnerability as international pawns, and their sensitivity to local Arab religious and political pressures. [UNC].
ON BOYS, GIRLS AND THE VEIL:
1995, 73 min., 2", Color, Arabic w/English subtitles, H,U,G.
This beautifully filmed piece examines veiling in the context of Egyptian society, rather than as an isolated religious phenomenon, as so many films have. Focusing on Bassem, a teacher and aspiring actor; and his family, neighbors and friends, this film unfolds a gentle narrative on the social and cultural factors that contribute to women's decisions to veil. Through Bassem, we see social interaction between young men and women uninhibited by hijab; and watch his veiled friends engage in animated discussions over whether veiling protects them from harassment; whether it is an obligation; and whether it signals their virtue or their religious beliefs. Throughout we get a sense of the secular (and less so, religious) dimensions of their decisions: how peer pressure, male-female relations, and societal expectations play determining roles. [AGF] Directed by Yousry Nasrallah.
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