War

Filmed as the U.S. planned for its September 2021 withdrawal of troops, IN THE RUMBLING BELLY OF MOTHERLAND documents an inspiring female-led news agency in Kabul, Afghanistan.

A Portrait of Three Women in Afghanistan, Syria and Iraq Leading the Fight for Gender Equality

As the forces of ISIS and Assad tear through villages and society in Syria and Northern Iraq, a group of brave and idealistic women are taking up arms against them—and winning inspiring victories. Members of “The Free Women’s Party” come from Paris, Turkish Kurdistan, and other parts of the world. Their dream: To create a Democratic Syria, and a society based on gender equality. Guns in hand, these women are carrying on a movement with roots that run 40 years deep in the Kurdish Workers’ Party (PKK) in Turkey. GIRL’S WAR honors the legacy of Sakine Cansiz, co-founder of the PKK who was assassinated in Paris in 2013, and reflects on the sacrifices made by all of the women in the movement, who have endured jail, rape, war, and persecution in their quest to liberate their lives and sisters from male dominance. With scenes of solidarity, strength, and love amongst these brave women soldiers, GIRL'S WAR is a surprising story of Middle Eastern feminism on the front lines.

Since 2006 when Europe closed its borders, human trafficking has burgeoned in Egypt’s Sinai Desert, where Eritrean asylum seekers and refugees heading north to Israel are kidnapped, held hostage, and tortured by Bedouin smugglers demanding exorbitant ransoms for their freedom. Fleeing an oppressive military dictatorship at home, with a “shoot-to-kill” policy at the border and where only pregnant women are exempted from service, over 300,000 Eritreans have fled their homeland in North Africa. Many of these men, women and children die in Sinai’s torture camps. This powerful documentary intimately follows Swedish-Eritrean journalist Meron Estefanos and her efforts to aid the hostages and their families. From Stockholm she runs a popular online radio show, fielding calls for help from Eritrean victims and their relatives. Her activism takes her to Israel and Egypt’s Sinai Desert to seek the release of a badly abused young woman held captive with her baby and to search for another who disappeared along the Egyptian-Israeli border after her ransom had been paid. Both eloquent and harrowing, SOUND OF TORTURE spotlights one of today’s most underreported human rights violations and the one woman who is making it her mission to create change.

Director Joanna Lipper elegantly explores past and present as she tells the remarkable story of Hafsat Abiola, daughter of human rights heroine Kudirat Abiola, and Nigeria's President-elect M.K.O. Abiola, who won a historic vote in 1993 that promised to end years of military dictatorship. Shortly after the election M.K.O. Abiola's victory was annulled and he was arrested. While he was imprisoned, his wife Kudirat took over leadership of the pro-democracy movement, organizing strikes and rallies, winning international attention for the Nigerian struggle against human rights violations perpetrated by the military dictatorship. Because of this work, she too became a target and was assassinated in 1996. In this riveting political thriller, the Abiola family’s intimate story unfolds against the epic backdrop of Nigeria's evolution from independence in 1960 - through the Biafra War, subsequent military dictatorships and the tumultuous transition to civilian rule - through present day as Hafsat continues to face the challenge of transforming a corrupt culture of governance into a democracy capable of serving Nigeria's most marginalized population: women.

In 1985, the Academy Award® nominated film LAS MADRES: THE MOTHERS OF PLAZA DE MAYO profiled the Argentinian mothers’ movement to demand to know the fate of 30,000 “disappeared” sons and daughters. Now three decades later, Argentina’s courageous Grandmothers, or “Abuelas”, have been searching for their grandchildren: the children of their sons and daughters who disappeared during Argentina’s “dirty war.” The women in ABUELAS are seeking answers about their children that nobody else will give — answers about a generation that survived, but were kidnapped and relocated to families linked with the regime that murdered their parents. Argentine filmmaker Noemi Weis beautifully documents the grandmothers’ painstaking work and its results - dramatic, inspiring and sometimes controversial - as the women make contact with grandchildren who have grown up living lies created by their adoptive parents. Their tireless work continues today: the justice they are seeking for their children’s murder, their drive to find their grandchildren, and their international status speaking out for family reunification.

Hundreds of children disappeared without a trace during the Salvadoran civil war. Many were survivors of massacres carried out by the U.S.-trained Salvadoran army. Taken away from the massacre sites by soldiers, some grew up in orphanages or were "sold" into adoption abroad, not knowing their true history or identity. The film follows Margarita Zamora, an investigator with human rights organization Pro-Búsqueda as she traverses the Salvadoran countryside probing memory, swabbing DNA samples, and searching for disappeared children - including her own four siblings. In the United States, Jamie Harvey, adopted from El Salvador in 1980, dreams of locating her birth family; but with no information, no contacts and no access to the Salvadoran military war archives, she is losing hope. CHILDREN OF MEMORY weaves together separate yet intertwined journeys in the search for family, identity and justice in El Salvador.

Their voices are suppressed, prohibited and censored. But world-famous bloggers Yoani Sánchez, Zeng Jinyan and Farnaz Seifi are unafraid of their dictatorial regimes. These fearless women represent a new, networked generation of modern rebels. In Cuba, China and Iran their blogs shake the foundations of the state information monopoly, putting them at great risk. This film accompanies these brave young cyberfeminists on perilous journeys. Eyewitness reports and clandestine footage show Sánchez's brutal beating by Cuban police for criticizing her country's regime; Chinese human rights activist Jinyan under house arrest for four years; and Iranian journalist and women's advocate Seifi forced into exile, where she blogs under a pseudonym. Tracing each woman's use of social media to denounce and combat violations of human rights and free speech in her home country, FORBIDDEN VOICES attests to the Internet's potential for building international awareness and political pressure.

The Killing Fields in Cambodia became known to the world but little is known about the struggles of the women left behind. From 1975-79, Pol Pot’s campaign to increase the population forced at least 250,000 young Cambodian women to marry Khmer Rouge soldiers they had never met before. Sochan Pen was one of them. At 16, she was beaten and raped by her husband before managing to escape, though deeply scarred by her experience. After 30 years of silence, Sochan is ready to file a complaint with the international tribunal that will try former Khmer leaders. With quiet dignity, she starts demanding answers from those who carried out the regime’s orders. To tell a story little known outside Cambodia, Cambodian Lida Chan and French-Cambodian Guillaume Suon include Khmer Rouge era footage underscoring war’s traumatic legacy for Sochan’s generation of women. Awarded two prizes at Amsterdam’s prestigious International Documentary Film Festival, RED WEDDING demonstrates the liberating power of speech and memory in the quest for justice.

Women make up 15 percent of today's military. That number is expected to double in 10 years. SERVICE highlights the resourcefulness of seven amazing women who represent the first wave of mothers, daughters and sisters returning home from the frontless wars of Iraq and Afghanistan. Portraying the courage of women veterans as they transition from active duty to their civilian lives, this powerful film describes the horrific traumas they have faced, the inadequate care they often receive on return, and the large and small accomplishments they work mightily to achieve. These are the stories we hear about from men returning from war, but rarely from women veterans. Through compelling portraits, we watch these women wrestle with prostheses, homelessness, Post Traumatic Stress Disorder and Military Sexual Trauma. The documentary takes the audience on a journey from the deserts of Afghanistan and Iraq to rural Tennessee and urban New York City, from coping with amputations, to flashbacks, triggers and depression to ways to support other vets. An eye-opening look at the specific challenges facing women veterans with a special focus on the disabled, SERVICE can be used for courses in military studies, women’s studies, peace and conflict courses and veteran support groups.

During the 1994 genocidal campaign that claimed the lives of an estimated 800,000 Rwandans and committed atrocities against countless others, Daphrose Mukarutamu, a Tutsi, lost her husband and all but two of her 11 children. In the aftermath she considered suicide. But instead, she took in 20 orphans and started Duhozanye, an association of Tutsi and Hutu widows who were married to Tutsi men. This powerful documentary by award-winning Norwegian director Karoline Frogner recounts the story of Duhozanye’s formation and growth - from a support group of neighbors who share their traumatic experiences, rebuild their homes, and collect and bury their dead, to an expanding member-driven network that advances the empowerment of Rwandan women. Featuring first-person accounts by Daphrose and other Duhozanye widows, the film shows association members helping women victims of rape and HIV/AIDS, running small businesses and classes in gender violence prevention, and taking part in national reconciliation through open-air people’s courts where they can face, and often forgive, their loved ones’ killers.

JUSTICE FOR SALE follows the young, courageous Congolese human rights lawyer Claudine Tsongo who refuses to accept that justice is indeed “For Sale” in her country. When she investigates the case of a soldier convicted of rape, she becomes convinced his trial was unfair and uncovers a system where the basic principles of law are ignored—and when the system fails, everyone becomes a victim. The documentary not only provides a glimpse into the failings of the Congolese judicial system but also raises questions about the role of the international community and non-governmental organizations in reforming it. Does their financial support cause justice to be for sale? And who pays the price? This is the third documentary in Dutch filmmakers Ilse and Femke van Velzen’s trilogy about the Congo, following FIGHTING THE SILENCE, about the consequences for victims of sexual violence and WEAPON OF WAR, confessions by those who perpetrated the acts. These films are essential viewing for anyone interested in the issues facing contemporary Africa.

When World War II broke out, reporter Martha Gellhorn was so determined to get to the frontlines that she left husband Ernest Hemingway, never to be reunited. Ruth Cowan’s reporting was hampered by a bureau chief who refused to talk to her. Meanwhile, photojournalist Dickey Chappelle wanted to get so close to the action that she could feel bullets whizzing by. This award-winning documentary tells the colorful story of how these three tenacious war correspondents forged their now legendary reputations during the war—when battlefields were considered no place for a woman. Narrated by Emmy® Award winner Julianna Margulies, this film features an abundance of archival photos and interviews with modern female war correspondents, as well as actresses bringing to life the written words of these remarkable women. Their repeated delegation to the sidelines to cover the “woman’s angle” succeeded in expanding the focus of war coverage to bring home a new kind of story— a personal look at the human cost of war. NO JOB FOR A WOMAN: THE WOMEN WHO FOUGHT TO REPORT WWII has been made possible in part by a major grant from the National Endowment for the Humanities.

Academy® Award nominated director Katja Esson’s (FERRY TALES, LATCHING ON) exquisitely made film explores survival, strength and the power of the human heart, body and soul—as expressed through poetry. She highlights six different poets, who individually survived Hiroshima, the Holocaust, China’s Cultural Revolution, the Kurdish Genocide in Iraq, the Rwandan Genocide, and the Iranian Revolution. By summoning the creative voice of poetry to tell stories of survival and witness, each reclaims humanity and dignity in the wake of some of history’s most dehumanizing circumstances. POETRY OF RESILIENCE gives us an intimate look into the language of the soul and brings us closer to understanding the insanity of war and how art will flourish, in spite of any obstacle.This film is recommended for courses in poetry studies, literature, peace and conflict studies and genocide studies.

Canada is one of a handful of countries that permit women to fight in ground combat. In January 2013, the Pentagon lifted its ban on women in combat roles. In 2016, for the first time in American history, women will be permitted to train as combat soldiers. Sisters In Arms reveals the untold stories of three remarkable women in the most difficult and dangerous military professions: facing combat on the frontlines in Afghanistan. Corporal Katie Hodges is a determined infantry soldier; Corporal Tamar Freeman, a trained medical professional; and Master Corporal Kimberley Ashton, a combat engineer and mother who has left behind three young daughters. Using video diaries filmed by the soldiers in Afghanistan and intimate personal interviews, Sisters in Arms tells their stories of loss and inspiration from a uniquely female perspective, challenging our perceptions of what constitutes a soldier.

A visually striking meditation on loss and a perceptive political critique, this deeply personal work has two subjects: filmmaker Olga Naccache’s ailing mother and the chaotic country where Naccache was raised. Both fell sick in 1975, the onset of incurable depression for one and a bloody civil war ushering in deep divisions for the other. In this sequel to LEBANON: BITS AND PIECES (1994), Naccache ponders the plight of the country she clearly loves while honoring the mother dear to her. Her montage draws on conversations with Naccache's mother toward the end of life, along with footage of this beautiful, accomplished woman and ardent secularist in more physically robust times. Stunning scenes of tranquil Beirut and southern Lebanon contrast with close-ups of a nation under siege from within and abroad. Recent interviews with two longtime friends—a leftist teacher of philosophy in a Christian village school and a Shiite Muslim viewing Hezbollah as Lebanon’s only hope—raise crucial questions about the nation’s identity and precarious future.

In this revealing documentary five extraordinary women talk about their occupations, aspirations, and the rights and status of women in their Muslim countries. Bosnian Alma Suljevic risks her life daily clearing the landmines near Sarajevo that are war’s deadly legacy, then sells minefield earth in European art galleries so that she can continue her work. Eren Keskin, a longtime human rights activist and lawyer with music conservatory training, fights to change Turkey’s legal practices that perpetuate violence against women. Veteran filmmaker Rakshan Bani-Ehmad, true to her credo that art must “look, observe, and discover”, frequently pushes Iran’s censorship rules to the limit. Surrounded by conflict since childhood, young Afghani writer Moshagan Saadat creates brave, profoundly moving and memorable poems. And renowned Pakistani dancer Nahid Siddiqui, once forced to live outside her homeland when her work was banned, continues to perfect, renew, and teach her art form. Captured by Spanish filmmaker Alba Sotorra, who hitchhiked from Barcelona to Pakistan to shoot UNVEILED VIEWS, these self-portraits of hope, heroism, and pride challenge conventional Western stereotypes about women in the Islamic world.

In no other country has sexual violence matched the scale of brutality reached in the Democratic Republic of Congo (DRC). During nearly two decades of conflicts between rebels and government forces, an estimated 150,000 Congolese women and girls fell victim to mass rape. That figure continues to rise. WEAPON OF WAR, an award-winning film honored by Amnesty International, journeys to the heart of this crisis, where we meet its perpetrators. In personal interviews, soldiers and former combatants provide openhearted but shocking testimony about rape in the DRC. Despite differing views on causes or criminal status, all reveal how years of conflict, as well as discrimination against women, have normalized brutal sexual violence. We also see former rapists struggling to change their own or others’ behavior, and reintegrate into their communities. A companion to FIGHTING THE SILENCE and its portraits of Congolese rape survivors, this indispensable resource provides unique insights into strategic uses of rape as a military weapon - and the motives of the men who employ it.

Bettina Goering, grandniece of Hermann Goering, has long tried to bury the dark legacy of her family history. Painter Ruth Rich, a daughter of Holocaust survivors, cannot resolve her deep-rooted anger over the suffering of her parents and the loss of an older brother in the Holocaust. Bettina seeks out Ruth in an attempt to confront her enormous guilt and her fear that the capacity for evil is in her blood. When the women meet, their hidden guilt and rage clash in a series of intimate and extraordinary meetings. Provocative and deeply moving, BLOODLINES by Cynthia Connop follows Ruth and Bettina as they face the past in their quest to heal the future. Their meetings are interspersed with individual interviews, powerful images from Ruth’s paintings and archival photos. This contemporary film brings to light, in a way never before seen, the unwritten cost of war and genocide on future generations of both victims and perpetrators. Given recent events in Darfur, Rwanda and Serbia, this film provides relevant and timely insight into the difficult process of reconciliation and forgiveness, and the long-term consequences of hatred.

Filmed over three years during the most historic and pivotal time in Nepal’s modern history, The Sari Soldiers is an extraordinary story of six women’s courageous efforts to shape Nepal’s future in the midst of an escalating civil war against Maoist insurgents, and the King’s crackdown on civil liberties.
When Devi, mother of a 15-year-old girl, witnesses her niece being tortured and murdered by the Royal Nepal Army, she speaks publicly about the atrocity. The army abducts her daughter in retaliation, and Devi embarks on a three-year struggle to uncover her daughter’s fate and see justice done. The Sari Soldiers follows her and five other brave women: Maoist Commander Kranti; Royal Nepal Army Officer Rajani; Krishna, a monarchist from a rural community who leads a rebellion against the Maoists; Mandira, a human rights lawyer; and Ram Kumari, a young student activist shaping the protests to reclaim democracy. The Sari Soldiers delves into the extraordinary journey of these women on opposing sides of the conflict and the democratic revolution reshaping their country’s future.

The Democratic Republic of the Congo’s seven year war was the deadliest ever recorded in Africa. During that time, more than 80,000 women and girls were raped. Only now that the country is formally at peace are the consequences of the brutality becoming truly visible. Rape is slowly seeping into everyday life. FIGHTING THE SILENCE tells the story of ordinary Congolese women and men that are struggling to change their society: one that prefers to blame victims rather than prosecute rapists. Rape survivors and their families speak out openly about the suffering they endured because their culture considers women second class citizens and rape a taboo. They give voice to thousands of other survivors and their families who have chosen to hide their grief and remain silent for fear of being rejected by their families and community. Girls and women survivors tell of the brutality they experienced. Married couples openly talk about the pain they endure. Husbands talk of the pressures that led them to abandon their wives and why they agreed to take them back. A father explains why he has given up on his daughter’s future and how he wishes he could afford to take her rapist to court. Soldiers and policemen share their (shocking) views about why rape continues to flourish despite the war having officially ended four years ago.

After surviving a 14-year civil war and a government riddled with corruption, Liberia is ready for change. On January 16, 2006, Ellen Johnson-Sirleaf was inaugurated President – the first freely elected female head of state in Africa. Having won a hotly contested election with the overwhelming support of women across Liberia, Sirleaf faces the daunting task of lifting her country from debt and devastation. She turns to a remarkable team of women, appointing them in positions such as police chief, finance minister, minister of justice, commerce minister and minister of gender. With exclusive access, directors Siatta Scott Johnson and Daniel Junge follow these “Iron Ladies” behind the scenes during their critical first year in office as they tackle indolent bureaucracy, black markets and the omnipresent threat of violent riots. Highlighting the challenges that African countries currently face, this film provides an uplifting example of women who have become the backbone of change. As the filmmakers explore a historic transition from authoritarianism to democracy, the viewer is treated to a joyous, inspirational testimony of the political power of women's leadership and diplomacy.

This fascinating documentary is an exceedingly rare, inside look at an organization that most of the world has blacklisted as a terrorist group. Made by the first foreign film crew to be given access to the Tamil Tigers (LTTE) of Sri Lanka, the film offers important insights into the recently re-ignited conflict in Sri Lanka. Twenty-four-year-olds Dharsika and Puhalchudar have been living and fighting side-by-side for seven years as part of LTTE’s elite force, the Black Tigers. Their story is told through cinema verité footage, newsreel footage, and interviews with the women and Dharsika’s mother. The women describe heartbreaking traumas they both experienced at the hands of the Sri Lankan army, which led them to join the guerrilla forces. As they discuss their readiness to become suicide bombers and their abiding loyalty to the unnamed “Leader” – who they are sure would never harm civilians – grisly images of past LTTE suicide bombings provide somber counterpoints. Their curiously flat affects raise the possibility that they have been brainwashed. This even-handed documentary sheds light on the reasons that the Tamil Tigers continue their bloody struggle for independence while questioning their tactics.

Winner of the Sundance Special Jury Prize in Documentary and the inspiration for a 2008 U.N. Resolution classifying rape as a weapon of war, this extraordinary film, shot in the war zones of the Democratic Republic of Congo (DRC), shatters the silence that surrounds the use of sexual violence as a weapon of conflict. Many tens of thousands of women and girls have been systematically kidnapped, raped, mutilated and tortured by soldiers from both foreign militias and the Congolese army. A survivor of gang rape herself, Emmy Award®-winning filmmaker Lisa F. Jackson travels through the DRC to understand what is happening and why. Produced in association with HBO Documentary Films and the Fledgling Fund, this film features interviews with activists, peacekeepers, physicians, and even-chillingly-the indifferent rapists who are soldiers of the Congolese Army. Harrowing moments of the film come as dozens of survivors recount their stories with an honesty and immediacy that is pulverizing in its intimacy and detail, but this powerful film also provides inspiring examples of resiliency, resistance, courage and grace. **Emmy Award Nominee for Outstanding Informational Programming: Long Form and Outstanding Individual Achievement in a Craft: Writing**

"In September 2005, Afghanistan held its first parliamentary elections in 35 years. Among the candidates for 249 assembly seats was Malalai Joya, a courageous, controversial 27-year-old woman who had ignited outrage among hard-liners when she spoke out against corrupt warlords at the Grand Council of tribal elders in 2003. ENEMIES OF HAPPINESS is a revelatory portrait of this extraordinary freedom fighter and the way she won the hearts of voters, as well as a snapshot of life and politics in war-torn Afghanistan. Amidst vivid, poetic images of Joya's dusty Farah Province, the film tracks the final weeks of her campaign, when death threats restrict her movements. But the parade of trusting constituents arriving on her doorstep leaves no doubt that Joya is a popular hero. Among her visitors is a 100-year-old woman who treks two hours to offer loyalty and herbal medicine. King Solomon-style, Joya acts as folk mediator and advocate, adjudicating between a wife and her violent, drug-addicted husband and counseling a family forced to marry off their adolescent daughter to a much older man. Protected by armed guards, Joya heads to poor rural areas to address crowds of women, pledging to be their voice and ‘expose the enemies of peace, women, and democracy.’ In the presence of her fierce tenacity, we can imagine the future of an enlightened nation.” - Caroline Libresco, Sundance Film Festival

MY HOME – YOUR WAR offers an extraordinary look at the effect of the Iraq war through the eyes of an ordinary Iraqi woman. Shot in Baghdad over three years that span the time before, during and after the invasion of Iraq, this profoundly moving film brings a perspective that – until now – has rarely been available to U.S. audiences. This film combines insightful interviews with Layla Hassan and her family, vibrant scenes of Baghdad and intimate footage shot by Layla herself to paint a compelling picture of how the war has affected average Iraqis. As Islamic fundamentalism takes hold in the chaos of Baghdad, her shy teenage son turns to militancy, her once-progressive sister dons the veil, and whatever freedom Layla once had under Saddam Hussein’s secular rule is steadily being eroded. While facts about the Iraq war garner much U.S. media attention, My Home – Your War is a deeply compelling account of something seldom discussed: how the Iraq war has created a situation where the rise of fundamentalism is putting women’s rights increasingly at risk.

LINDA AND ALI provides a nuanced and intimate look into the life of a traditional Muslim family in Doha, Qatar. But Linda and Ali’s 20-year marriage is far from traditional. Linda was brought up Catholic in Arizona and met Ali – a Shiite Muslim from Qatar – at college in the 1980’s. Shot during the American invasion of Iraq, this poignant film shows how Linda and Ali struggle to surmount their cultural differences while raising their seven children in a lively, loving home. Unlike many foreign wives, Linda adopted the Shiite Muslim traditions of her husband, and swathed in black, she looks like any other Qatari woman. Within the four walls of their comfortable home, however, Western and Middle Eastern ideals, ethics and attitudes often collide. Linda enrolls her daughters in gymnastics classes, clashing with local morals, but she has yet to convince the girls that a “love marriage” such as hers is preferable to an arranged marriage. Filmmaker Lut Vandekeybus hones in on surprising and candid family discussions about issues such as second wives, religion and Qatari society in general, painting a fascinating portrait of a family living at the complex intersection of gender roles, nationality and religion. For two years, Vandekeybus was given extraordinary access to a culture rarely open to outsiders, and the resulting film offers viewers a unique opportunity to view Muslim culture through Linda’s eyes and counteract the often distorted images of Islamic culture and Muslim people provided by the mainstream media

Uncovering amazing stories of hope in the aftermath of the Rwandan genocide, Emmy Winner for Best Documentary and Academy Award Nominee for Best Documentary Short, GOD SLEEPS IN RWANDA captures the spirit of five courageous women as they rebuild their lives, redefine women’s roles in Rwandan society and bring hope to a wounded nation. The 1994 Rwandan Genocide left the country nearly 70 percent female, handing Rwanda’s women an extraordinary burden and an unprecedented opportunity. Ten years later, girls were attending school in record numbers, and women were a large part of the country’s leadership. Working with two cameras and no crew except for their translator—a genocide survivor herself—the filmmakers uncover incredible stories: an HIV-positive policewoman raising four children alone and attending night school to become a lawyer, a teenager who has become head of household for her four siblings, and a young woman orphaned in her teens who is now the top development official in her area. Heart-wrenching and inspiring, this powerful film is a brutal reminder of the consequences of the Rwandan tragedy, and a tribute to the strength and spirit of those who are moving forth.

Cecilia Cornejo presents a haunting personal response to the events of September 11, 2001, informed and complicated by her status as a Chilean citizen living in the U.S. With evocative imagery from both past and present, Cornejo weaves together her own fading childhood memories, her parents vivid recollections of the September 11, 1973 coup in Chile that brought the notorious dictator Augusto Pinochet to power; and post-9/11 conversations with her own young daughter. The resulting montage thoughtfully explores how personal and collective histories intersect, as well as how trauma is lived, supposedly erased, and passed on from one generation to the next. The filmmaker also alludes to what she believes is a deep contradiction within the American consciousness, one that makes it possible to view the 9/11/01 attacks as tragedy, while failing to interpret “outside” events such as the Chilean coup or the invasion of Iraq as such. Cornejo’s mesmerizing experimental film provides a striking new context with which to view the World Trade Center attacks— from the point of view of an immigrant whose home country has endured its own tragedies.

On September 11, 1973, a military coup in Chile brought Augusto Pinochet to power, and over the next 17 years, thousands of women and men were taken from their homes- never to return. Since that time, Chilean women have danced the country’s traditional courtship dance alone, and LA CUECA SOLA has become a symbol of women’s struggle against the dictatorship. After 30 years in exile, critically acclaimed filmmaker Marilu Mallet returns to Santiago to meet with five Chilean women from three generations who suffered under the dictatorship and have emerged as heroes under democracy. Isabel Allende, Monique Hermosilla, Estela Ortiz, Carolina Toha and Moyenei Valdes all lost a father, a husband, or a friend, but have surmounted their grief to bravely speak out, each in their own way- from political action to vocal performance. Intimate interviews reveal the women’s shocking experiences under the dictatorship, while inspiring footage of their current work highlights their passion to rebuild. Illustrating throughout with a wealth of archival images, Mallet paints a vivid portrait of the country’s painful past and offers insight on Chile’s situation today. Important historically, socially and politically, this moving film expresses both the courage of women and the vitality of a nation.

Arab Israeli filmmaker Ibtisam Salh Mara'ana grew up in Paradise (Fureidis in Arabic), a small fishing village overlooking the Mediterranean. One of the few Arab communities remaining after the 1948 war, Paradise became culturally and politically isolated as Jewish settlements sprung up around it, and today it is a place defined by silence and repression. This thought-provoking and intimate film diary follows the director’s attempt to recreate the village’s lost history, including the story of her childhood hero Suuad, the legendary local “bad girl” who was imprisoned as a PLO activist in the 1970’s and banished from the community. The director’s frustration builds as her questions are resisted, and her hopes soar when she finally meets Suuad, now a Doctor of Law living in the UK. Stunning cinematography and evocative music underscore the power of Mara’ana’s film, whose lyrical, emotionally charged tone is strikingly honest and straightforward. Presenting the rarely heard voice of an Arab Israeli, this important film offers valuable insight into the contradictions and complexities of modern womanhood and national identity in the Middle East.

SEARCH FOR FREEDOM traces the dramatic social and political history of Afghanistan from the 1920s to the present through the stories of four remarkable women: Princess Shafiqa Saroj, sister of the beloved progressive King Amanullah (1919-1929); Mairman Parveen, the first woman to sing on Afghan radio; Moshina, a war widow and survivor of a Taliban massacre; and Sohaila, an exiled medical student who ran underground schools for RAWA (Revolutionary Association of Afghan Women) during the Taliban regime. Through their personal stories, a surprising portrait of Afghanistan’s history emerges. Stunning archival footage from the early 20th century captures a time of remarkable progress and freedom for women that belies most Western perceptions. Other historical footage and Jahnagir’s incisive commentary reveal women’s realities and resilience under near constant occupation, first with the Soviet invasion, then under the mujahadeen and more recently under the repressive Taliban. Defying and clarifying the image of Afghan women as mere victims, SEARCH FOR FREEDOM offers a nuanced portrait of women who find choices where none are offered, who continue to find hope in the face of exile and isolation.

Albertina Carri’s second feature is a look at Argentina’s recent history from the perspective of a generation forced to mourn those of whom they have no recollection. Carri, who lost her parents to Argentina’s brutal military junta when she was three years old, travels through Buenos Aires with her crew to unravel the factual and emotional mysteries of her parents’ life, disappearance and death. Traces of Carri’s family emerge, colored by sharply conflicting perspectives. Who were the Carris? How did they disappear? Were they blonde, brunette, parents, heroes or merely a fiction of those who remember them? Crossing the line between documentary and fiction filmmaking, Carri enlists an actor, her parents’ former comrades, fading photographs and happy Playmobil dolls to investigate her parents’ untimely end. In the end, merging fact, rumor and imagination, Carri succeeds in reconstructing both her parents' history and her own construction of them. Emotionally fraught and intellectually provocative, THE BLONDS has resonance far beyond the tragic history of Argentina’s dirty war.

In October 2000, as the second Palestinian Intifada erupts, Israeli filmmaker Michal Aviad begins an exploration about both the moral and mundane dilemmas she faces every day in Tel Aviv. What begins with deceptive simplicity-a tender scene of sending the children off to school-quickly becomes a profound study of vulnerability and anxiety. Small acts like crossing the street are charged with inescapable fear. As the nightmare of violence escalates over the coming months, Michal and her husband Shimshon ask the quintessential Diaspora Jewish question, "When is it time to go?" The question reverberates through a stream of images-public and private, home video and historic archival footage-as her parents and extended family recount their own journeys to Israel from Europe, escaping death and the Holocaust, and from America, out of ideological commitment to Israel. Their stories are told with vivid, beautiful detail-at a bucolic family picnic, during a vacation on the California coast-and with a degree of candor and intimacy rarely seen in Israeli cinema. "I don't want to be an immigrant," says Shimshon, a political activist whose profound feelings about displacement and exile are interwoven with TV images of war, children asleep in their beds, grandma making pasta and the sounds of sirens. Tanks roll over the hills as tea is being made in the kitchen in a cosmic seesaw between blissful domesticity and the nightmare of public life, in this deeply moving and riveting video essay. -Deborah Kaufman

With conflicts raging on nearly every continent, war now regularly transcends the battlefield into everyday life - whether its increased security at airports or infringements on personal privacy. In WAR TAKES, Colombian filmmakers Adelaida Trujillo and Patricia Castaño turn the cameras on themselves to portray the tough realities of civil life in the violent, war-ravaged country of Colombia. Partners in an independent media company, they struggle to balance their family, business and political lives: reporting from dangerous parts of the country; managing their company as the economic situation worsens; parenting young children amid threats of violence and kidnapping; and rethinking their political views as war moves closer to the city. The filmmakers skillfully incorporate coverage from local television, archival footage, and narration to provide insightful analysis and historical background - including U.S. involvements in the region. Powerfully intimate and often humorous, their chronicle reveals how life goes on in Colombia - however surreal - against the terrifying backdrop of war.

Filmmaker Persheng Sadegh-Vaziri returns to Iran after 20 years as an expatriate to present this intimate and revealing portrait of five ordinary Iranian women: a nurse, a journalist, a rice farmer, a religious college graduate and a piano teacher. Against a backdrop of Islam, revolution and war, they share their views on the veil, the relationship of Iranian women to the West and the long-ranging impacts of the 1979 Revolution on the status of women in their country. What emerges is an image of Iran that resists easy classification, a nation in flux at a unique historical moment, still reeling from the residual effects of the Iran-Iraq war but poised for a new future. An important and timely look at contemporary Iran, WOMEN LIKE US offers surprising insights into the changing role of women in the Middle East from a perspective that rarely makes it to international headlines.

A rare collection from the emerging voices of African documentary filmmaking, this unique series daringly explores the social and cultural realities experienced in Africa today – including the infiltration of Western beauty standards, territorial displacement and high unemployment. FANTACOCA by Agnes Ndibi (23 minutes) presents the disturbing cultural phenomenon of skin bleaching in Cameroon and the challenge it is now posing on notions of black pride and identity. THE RIVER BETWEEN US by Maji-da Abdi (18 minutes) documents the alarming effects of war on a community of Ethiopian women and children who were forcibly relocated into refugee camps. LAAFI BALA by Fanta Regina Nacro (20 minutes) demonstrates the glaring causes of wide-spread unemployment and poverty in Burkina Faso, where few institutional resources and government support are available, and the debilitating effects this is having on women and youth.

Why would a young person choose resistance rather than submission during Hitler's reign of terror while her world was collapsing around her? In this gripping documentary, three Jewish women answer this question by recalling their lives as teenagers in occupied Holland, Hungary and Poland, when they refused to remain passive as the Nazis rounded up local Jewish populations. Defying her family's wishes, each girl found an unexpected way of fighting back -- Barbara Rodbell, as a ballet dancer shuttling Jews to safe houses and distributing resistance newspapers; Faye Schulman, as a photographer and partisan waging guerrilla war against the Germans; and Shulamit Lack, as a leader in an underground Zionist group smuggling Jews across the border. Enriched by home movies, archival footage, and previously unpublished photographs, the women's varied and vibrant stories provide a unique look at Jewish resistance to Nazism, a subject all too often consigned to history's footnotes.

An extraordinarily powerful documentary, CALLING THE GHOSTS is the first-person account of two women caught in a war where rape was as much an everyday weapon as bullets or bombs. Jadranka Cigelj and Nusreta Sivac, childhood friends and lawyers, enjoyed the lives of "ordinary modern women" in Bosnia-Herzegovina until one day former neighbors became tormentors. Taken to the notorious Serb concentration camp of Omarska, the two women, like other Muslim and Croat women interned there, were systematically tortured and humiliated by their Serb captors. Once released, the pair turned personal struggles for survival into a larger fight for justice-aiding other women similarly brutalized and successfully lobbying to have rape included in the international lexicon of war crimes by the UN Tribunal at the Hague. Chronicling the two women's experience and their remarkable transformation, CALLING THE GHOSTS is an indispensable resource for deepening understanding of human rights abuses and combating violence against women in the global arena.

LEBANON: BITS AND PIECES is an exquisitely beautiful and profoundly moving exploration of the myths and realities of present-day Lebanon, as reflected through the voices of women. During Olga Naccache's childhood, Lebanon was known to the outside world as an exemplary model of peace in the heart of an Arab Middle East dominated by dictators. Following a seven year absence, Naccache returned to Lebanon with a camera to record the dreams, disappointments and worries of women of her own generation and to meet a younger generation of women whose only memory is that of war. Through these voices, Naccache’s own voyage of rediscovery is revealed — rediscovery of her country and of herself.

ALGERIA: WOMEN AT WAR offers a rare insight into the key role Algerian women played in their country’s liberation struggle from the French thirty years ago and their equally important place in today’s politics.

THE WOMEN NEXT DOOR is a thoughtful and emotive documentary about women in the Palestinian-Israeli conflict. Israeli director Michal Aviad was living in the United States when the Intifada broke out in the West Bank and Gaza. Filled with questions about how the Occupation affected women on both sides of the conflict she set off in a journey through Israel and the Occupied Territories with two other women -- a Palestinian assistant director and an Israeli cinematographer. The film explores the roles that the Occupation designated for women on both sides and the questions it raises. In a world of occupation, what is the meaning of femininity, motherhood, birth, violence, compassion and solidarity between women? Can the womanhood of Israelis and Palestinians be separated from their political reality? The women next door are the women on either side of the border, as well as, those who face the camera and those who stand behind it. THE WOMEN NEXT DOOR provides a unique perspective on women’s lives in the Middle East and the critical part they play in rebuilding societies ravaged by war.

Most representations of the Vietnam War show women as innocent by-standers who sometimes became caught up in the conflict but who were otherwise uninvolved. AS THE MIRROR BURNS is an amazing redressing of this misconception. It is estimated that over 70% of the guerrilla forces in the war were women who were not victims but who were active participants in the struggle against foreign domination. AS THE MIRROR BURNS shows how the war still shapes life for the women of Vietnam as they continue their work in the fields and factories, on the roads and in the homes, to restore peace to their land. Study guide available.

Shot in Israel and the Occupied Territories, this extraordinary documentary offers a unique, vital perspective on the Intifada seldom seen in U.S. mainstream media. Produced for the BBC, A State of Danger gives voice to Palestinian and Israeli peace activists, most of them women. Chilling testimonies to Israeli police brutality are supplemented by interviews with Israelis who support Palestinian self-determination. A STATE OF DANGER is a compelling, timely documentary that examines grassroots support, human rights, and the role of Arab and Jewish women in bringing peace to the region.

BEIRUT: THE LAST HOME MOVIE is an imaginative film which challenges documentary form and concepts of reality by exposing a personal response to a global event—three months in the life of a Lebanese family living in a heavily-bombed Beirut neighborhood. This extraordinary film captures the real-life experiences of a family living in one of the most chaotic wars in history and provides insight into the psychology of war, 20th century-style. It also reveals the power of cinema verité at its best: a seemingly simple recording of everyday life becomes a fascinating, complex and many-layered look at the connections between personal and political lives.

In this resonant work, Palestinian-born video and performance artist Mona Hatoum explores the renewal of friendship between mother and daughter during a brief family reunion in war-torn Lebanon in 1981. Through letters read in voice-over and Arabic script overlaying the images, the viewer experiences the silence and isolation imposed by war. The politics of the family and the exile of the Palestinian people are inseparable in this forceful, moving film. With gratitude to the Moving Image Archiving and Preservation program at NYU, a digital preservation copy of this film now available for exhibition! Please contact [email protected] for more information.

Not recommended for exhibition. This is the only existent digital copy from the original film, which was produced by the late filmmaker. If you have questions about the quality, please email [email protected].