PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
Cinemanila schedule and venue is usually in limbo every year due to financial and other problems so the schedule hasn’t come out yet as far as I know.
You can try checking Dino Manrique’s pinoyfilm.com every so often for the schedule.
q
I wish Ray G. nothing but the best if he plans to remake Mike De Leon’s Batch ‘81 but well the track record of remaking canonical classics is strewn with a lot of filmmakers’ blood. I hope he is able to come up with his own personal version of the film rather than try to live up to the original.
I’ve seen most of Sherrad’s debut work Huling Balyan ng Buhi and apart from his use of music, I was very impressed by its honesty and ambition. I have also heard good things about Imburnal and that was one of the hot issues when I and other anti-censorship advocates were filing the MTRCB reorganization bill. If I’m not mistaken, the MTRCB allowed only a one time special screening of Imburnal and Raya Martin’s Next Attraction (also censored). The Imburnal row brought out Amalia Fuentes’s infamous comment (I don’t recall the exact words) but the gist was she told Sherrad why are you making films like this showing cockroaches. You should make films like the Richard Guttierez, K,C. Concepcion starrer (the box office hit at that time). Needless to say my opinion on Ms. Fuentes’s judgment of film quality and the MTRCB’s is the verbal equivalent of an Imburnal.
@Scorpio Rising: Based on the stories I’ve heard about Direk Mike De Leon and others, and particularly some almost absurd stories from Lav (Diaz), I think he might not be too happy about it.
I’m Ilonggo. Just an FYI, Ilonggo/Hiligaynon is a separate language (just as Tagalog is and around 11 other major languages) not a dialect. =)
Filmmakers from the older and current generation of active filmmakers that I have seen and would recommend, some established and are now “names”, and others who are doing good work without the proper attention by the “film establishment” and/or experimenting well underground, video art, performance and interactive film, others with great potential:
Carlo Pangalangan
Adjani Arumpac
Ditsi Carolino
Lav Diaz
John Torres
Ray Gibraltar
Christopher Gozum
Mario O’Hara
Kidlat Tahimik
Emman De La Cruz
Raya Martin
Martha Atienza
Sherrad Sanchez
Joy Domingo
Mes De Guzman
Roxlee
Ricky Orellana
Jade Castro
Raymund Cruz
Of course there may be several others working in the regions that I am unaware of and have not been given proper attention.
Will continue to add to the list.
Based on the description of the documentary “Kano” – but of course I have yet to see the film – I am hoping to happily add Monster Jimenez to the list.
(Of course sourcing copies of their works are difficult.)
The acclaimed Iranian film-maker Jafar Panahi was sentenced to six years in prison today, and banned from directing and producing films for the next 20 years, his lawyer said.
The MMFF has been morally and artistically bankrupt for decades. They are merely riding on the buzz word “indie” (a very abused word which, as a filmmaker who has been working for more than a decade since the early influx of Pinoy digital filmmaking, I have come to loathe). They do not care about what it means to be “indie”. They are merely concerned with finding a way to make money out of it and subverting the values into the commercial values that they worship.
The co-opting by commercial filmmaking of “indie” filmmaking is everywhere. Even with the language used by mainstream news media like ABS-CBN. Every time a film by Brillante Mendoza or Lav Diaz, etc. wins an international award abroad, without fail, the mainstream media says in the vernacular, “… another triumph for the Philippine film industry.” What mainstream media fails to conveniently mention is that the work of the majority of these filmmakers who have brought “honor to the country” have nothing to do with the mainstream Philippine film industry in any way. Most of this work was created the outside the industry either through international grants, international financiers, government institutional support or out of the filmmakers’ own pockets and hardship. And that has just to do with finances, on a deeper level, the work being created is spiritually deeper and radical than anything that has been created by the mainstream industry in decades. The only contributions the mainstream Philippine film industry has to do with this current generation of filmmakers is that they perhaps have one time or another broken the hearts and destroyed the dreams of many of these filmmakers to create works within their so-called industry.
And that goes back to the values, if our filmmakers were not “winning awards” abroad, would the MMFF care about “indie”? Would WE even care about their work? Awards or not, exciting and truthful has been created and is being created.
Filipino independent filmmakers have been chronicling the truth of Philippine life, have been physically and spiritually working outside the commercial system since before World War 2 and some time after World War 2, most historically noted with the documentaries of Ben Pina, the non studio work of Lamberto Avellana, Manuel Conde, and recently Lav Diaz has also talked to me highly about his respect for the lost work of Chiquito (to draw a parallel, Chaplin is to Dolphy as Chiquito is to Buster Keaton maybe). Then of course comes the 1970s with Brocka’s generation (working within the studio system with an independent spirit like the previous generation of Gerry De Leon), Celso Ad Castillo, Kidlat Tahimik’s rise, then the 1980s with the fruits of the Goethe Institute workshops, Raymond Red, Nick De Ocampo, Rox Lee, Briccio Santos, the Mowelfund generation, university work by schools like UP, and now of course we come to our present explosion of the digital expression, Lav Diaz, Brillante Mendoza, Raya Martin, Cinemalaya, Cinema One, regional cinema et al. With the influx of work from the regions, and other filmmakers yet to be discovered, the term, “Philippine Cinema”, has never been more truthful than it is now, MMFF be damned.
I received this in my e-mail from critic Olaf Moller. Please share this with other filmmakers you know.
On the Persecution of Iranian Filmmakers
dear friends and acquaintances!
my friend and esteemed colleague gabe klinger send me this open letter to mahmud ahmadinejad written by your colleague rafi pitts; before the letter proper, you’ll find a call for a united show of support for jafar panahi and mohammad rasoulof on february 11th.
gabe asked me to forward this to the filmmakers i know, which i hereby do, and do so gladly.
take note, take action.
cheers
der om
In Solidarity with Jafar Panahi and Mohammad Rasoulof, we suggest to all filmmakers and members of the film industry, regardless of your country or borders, religion or politics, to support our fellow filmmakers by not working for two hours between 15:00-17:00 (local time in Tehran) on the 11th of February 2011, the date of the 32nd anniversary of the Iranian Revolution.
To Mr. Ahmadinejad,
In 1979 there was a Revolution. In fact, the commemoration, the 32nd year of our Iranian Revolution, is on the 11th of February 2011. The reason you need to be reminded of this is because I feel that you have forgotten the reasons why this all happened. Maybe I’m wrong, maybe you need to explain yourself. Maybe you have your own definition of our Revolution. In which case I feel you should respond to the question: Why do you think we had a Revolution in 1979?
The time has also come to clarify your reasons for wanting filmmakers to be put away. Your reasons for wanting to kill a life, a career, in the name of our Revolution, or maybe I’m asking the wrong question: Is it all about your re-election?
A very close friend, Jafar Panahi, one of our most important filmmakers, for whom I have great respect as a person, and admiration as a filmmaker, is being imprisoned by your government, by your law. He is sentenced to six years for wanting to make a film. A film he hasn’t even made. Six years in prison on an idea for a film. On top of it all, as though that wasn’t enough, he is sentenced to twenty years of not being allowed to make another film and twenty years of not being able to leave his homeland.
Another important young director, Mohammad Rasoulof, is being convicted with the same sentence. His crime: working with Jafar.
They are both punished for caring about their fellow man. Punished for wanting to understand the events of June 2009. Punished for caring about the lives that were lost in the conflict due to the elections. Although, need you be reminded, all candidates had been given permission to present themselves by the regime. The choices were very clear and indeed legal. Jafar Panahi and Mohammad Rasoulof made their decision alongside the majority of our film industry. It became the Green Movement. The right was given to us.
- Do you think there is anything wrong in wanting to understand why people died in our last elections?
- Do you really believe that our country is unaware of the violence the election results caused?
- Is it a crime for Panahi to want to make another film?
- Is it a crime for Rasoulof to question reality?
- Is it because filmmakers want to hold up a mirror on what has happened to society?
- Are you afraid of a point of view that might contradict yours? In which case, please answer the question: Why did we have a Revolution?
Rafi Pitts, 24th of December 2010, Paris
Cinema 21: Lav Diaz almost 3 years ago
It is … done …
The Auteurs CINÉMA 21 Project: An Interview with Lav Diaz Part 3 of 3
http://mubi.com/garage/projects/7/films/1288
Go to Comment
LIVING TIME, SURVIVING TIME: An Overview of the Life and Films of Lav Diaz (in 3 parts) almost 3 years ago
It is … done …
The Auteurs CINÉMA 21 Project: An Interview with Lav Diaz Part 3 of 3
http://mubi.com/garage/projects/7/films/1288
Go to Comment
LIVING TIME, SURVIVING TIME: An Overview of the Life and Films of Lav Diaz (in 3 parts) almost 3 years ago
Thanks Marc and Blue K. =)
“Marginalization is the issue of people who cannot work.” – Lav Diaz on the question “Do you feel marginalized?”
Go to Comment
URGENT!!! PLEASE SIGN THE PETITION TO FREE IRANIAN FILMMAKER JAFAR PANAHI BEING HELD BY IRANIAN SECURITY FORCES almost 3 years ago
Thank you T.J. for the update on Panahi’s release.
Go to Comment
STOP THE LISTS! almost 3 years ago
Grey Daisies, thanks for reposting the link to lav’s dvd catalog. =)
Go to Comment
Cinema 21: Lav Diaz almost 3 years ago
With a section on Lav Diaz.
http://dododayao.multiply.com/journal/item/164/A_SHARED_LOVE_AND_A_SHARED_ART_YOU_ARE_COMPLICIT_IN
PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
Go to Comment
LIVING TIME, SURVIVING TIME: An Overview of the Life and Films of Lav Diaz (in 3 parts) almost 3 years ago
With a section on Lav Diaz.
http://dododayao.multiply.com/journal/item/164/A_SHARED_LOVE_AND_A_SHARED_ART_YOU_ARE_COMPLICIT_IN
PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
Go to Comment
LIVING TIME, SURVIVING TIME: An Overview of the Life and Films of Lav Diaz (in 3 parts) almost 3 years ago
With a section on Lav Diaz.
http://dododayao.multiply.com/journal/item/164/A_SHARED_LOVE_AND_A_SHARED_ART_YOU_ARE_COMPLICIT_IN
PHILIPPINE NEW WAVE: This Is Not A Film Movement
Edited by Khavn De La Cruz with Dodo Dayao & Mabie Alagbate
Introduction by Bienvenido Lumbera
Profiles by Chard Bolisay, Oggs Cruz, & Dodo Dayao
Published by Noel Ferrer, Instamatic Writings, & MovFest
Book Design & Layout by Gerard Lico
“I just need to say THANK YOU for making this! It’s a major read for me as we share similar cinematic visions and, among others, political instability. Your book is gold.” — Apichatpong Weerasethakul
“The most prominent internationally-acclaimed and wildly divergent digital filmmakers from the Philippines answer questions on filmmaking and beyond: from humble beginnings, to first adventures and unforgettable experiences, to influences and philosophy and process, to what the power of film is, to the true meaning of independence, to what the future holds for cinema, locally and worldwide.
Filmmaker and festival director Khavn De La Cruz throws the questions at them, and gamely answers them himself. The results are at turns informative and insightful, inspirational and illuminating, revealing how diverse the landscape of Philippine Cinema has become, and how much of it is a shared love and a shared art in which you are complicit in."
Go to Comment
Looking for Harutyun Khachatryan ... almost 3 years ago
Good day.
In my past correspondence with legendary independent filmmaker Rob Nilsson, he has highly recommended this Armenian filmmaker Harutyun Khachatryan.
This is the only information about him that I have found online,
http://www.cinemawithoutborders.com/news/139/ARTICLE/1177/2007-02-09.html
http://www.imdb.com/name/nm0450988/
If anyone has any information or has any thoughts on his work, it would be greatly appreciated.
Go to Comment
Looking for Harutyun Khachatryan ... almost 3 years ago
Thank you.
Go to Comment
Looking for Harutyun Khachatryan ... almost 3 years ago
> As a general rule, I don’t accept recommendations from purveyors of dreck.
Can you please substantiate your statement?
Go to Comment
FILIPINOS COME TOGETHER!!! over 2 years ago
Cinemanila schedule and venue is usually in limbo every year due to financial and other problems so the schedule hasn’t come out yet as far as I know.
You can try checking Dino Manrique’s pinoyfilm.com every so often for the schedule.
q
I wish Ray G. nothing but the best if he plans to remake Mike De Leon’s Batch ‘81 but well the track record of remaking canonical classics is strewn with a lot of filmmakers’ blood. I hope he is able to come up with his own personal version of the film rather than try to live up to the original.
I’ve seen most of Sherrad’s debut work Huling Balyan ng Buhi and apart from his use of music, I was very impressed by its honesty and ambition. I have also heard good things about Imburnal and that was one of the hot issues when I and other anti-censorship advocates were filing the MTRCB reorganization bill. If I’m not mistaken, the MTRCB allowed only a one time special screening of Imburnal and Raya Martin’s Next Attraction (also censored). The Imburnal row brought out Amalia Fuentes’s infamous comment (I don’t recall the exact words) but the gist was she told Sherrad why are you making films like this showing cockroaches. You should make films like the Richard Guttierez, K,C. Concepcion starrer (the box office hit at that time). Needless to say my opinion on Ms. Fuentes’s judgment of film quality and the MTRCB’s is the verbal equivalent of an Imburnal.
Go to Comment
FILIPINOS COME TOGETHER!!! over 2 years ago
@Scorpio Rising: Based on the stories I’ve heard about Direk Mike De Leon and others, and particularly some almost absurd stories from Lav (Diaz), I think he might not be too happy about it.
I’m Ilonggo. Just an FYI, Ilonggo/Hiligaynon is a separate language (just as Tagalog is and around 11 other major languages) not a dialect. =)
Go to Comment
FILIPINOS COME TOGETHER!!! over 2 years ago
Filmmakers from the older and current generation of active filmmakers that I have seen and would recommend, some established and are now “names”, and others who are doing good work without the proper attention by the “film establishment” and/or experimenting well underground, video art, performance and interactive film, others with great potential:
Carlo Pangalangan
Adjani Arumpac
Ditsi Carolino
Lav Diaz
John Torres
Ray Gibraltar
Christopher Gozum
Mario O’Hara
Kidlat Tahimik
Emman De La Cruz
Raya Martin
Martha Atienza
Sherrad Sanchez
Joy Domingo
Mes De Guzman
Roxlee
Ricky Orellana
Jade Castro
Raymund Cruz
Of course there may be several others working in the regions that I am unaware of and have not been given proper attention.
Will continue to add to the list.
Based on the description of the documentary “Kano” – but of course I have yet to see the film – I am hoping to happily add Monster Jimenez to the list.
(Of course sourcing copies of their works are difficult.)
Go to Comment
LIVING TIME, SURVIVING TIME: An Overview of the Life and Films of Lav Diaz (in 3 parts) over 2 years ago
Speech for Cinema One by Lav Diaz (Translation: Angelo Ancheta)
http://momentaries.multiply.com/journal/item/204/Speech_for_Cinema_One_by_Lav_Diaz_Translation_Angelo_Ancheta
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
http://www.guardian.co.uk/world/2010/dec/20/iran-jails-jafar-panahi-films
The acclaimed Iranian film-maker Jafar Panahi was sentenced to six years in prison today, and banned from directing and producing films for the next 20 years, his lawyer said.
Go to Comment
URGENT!!! PLEASE SIGN THE PETITION TO FREE IRANIAN FILMMAKER JAFAR PANAHI BEING HELD BY IRANIAN SECURITY FORCES over 2 years ago
Free Jafar Panahi (Again!) http://mubi.com/topics/12684
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
The previous topic on Panahi’s previous arrest.
http://mubi.com/topics/8193?page=1
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
Thank you for the information Shantih and Jorge.
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
Thanks Ira and Nohea.
As reminded by Jimmy Paradiso and Nohea
FREE Jafar Panahi and Mohammed Rassoulov,
Free Iranian Cinema,
Free All of Cinema,
http://momentaries.multiply.com/journal/item/205/Free_Iranian_Cinema_Free_All_of_Cinema
Go to Comment
FILIPINOS COME TOGETHER!!! over 2 years ago
@I.L.
I agree completely.
The MMFF has been morally and artistically bankrupt for decades. They are merely riding on the buzz word “indie” (a very abused word which, as a filmmaker who has been working for more than a decade since the early influx of Pinoy digital filmmaking, I have come to loathe). They do not care about what it means to be “indie”. They are merely concerned with finding a way to make money out of it and subverting the values into the commercial values that they worship.
The co-opting by commercial filmmaking of “indie” filmmaking is everywhere. Even with the language used by mainstream news media like ABS-CBN. Every time a film by Brillante Mendoza or Lav Diaz, etc. wins an international award abroad, without fail, the mainstream media says in the vernacular, “… another triumph for the Philippine film industry.” What mainstream media fails to conveniently mention is that the work of the majority of these filmmakers who have brought “honor to the country” have nothing to do with the mainstream Philippine film industry in any way. Most of this work was created the outside the industry either through international grants, international financiers, government institutional support or out of the filmmakers’ own pockets and hardship. And that has just to do with finances, on a deeper level, the work being created is spiritually deeper and radical than anything that has been created by the mainstream industry in decades. The only contributions the mainstream Philippine film industry has to do with this current generation of filmmakers is that they perhaps have one time or another broken the hearts and destroyed the dreams of many of these filmmakers to create works within their so-called industry.
And that goes back to the values, if our filmmakers were not “winning awards” abroad, would the MMFF care about “indie”? Would WE even care about their work? Awards or not, exciting and truthful has been created and is being created.
Filipino independent filmmakers have been chronicling the truth of Philippine life, have been physically and spiritually working outside the commercial system since before World War 2 and some time after World War 2, most historically noted with the documentaries of Ben Pina, the non studio work of Lamberto Avellana, Manuel Conde, and recently Lav Diaz has also talked to me highly about his respect for the lost work of Chiquito (to draw a parallel, Chaplin is to Dolphy as Chiquito is to Buster Keaton maybe). Then of course comes the 1970s with Brocka’s generation (working within the studio system with an independent spirit like the previous generation of Gerry De Leon), Celso Ad Castillo, Kidlat Tahimik’s rise, then the 1980s with the fruits of the Goethe Institute workshops, Raymond Red, Nick De Ocampo, Rox Lee, Briccio Santos, the Mowelfund generation, university work by schools like UP, and now of course we come to our present explosion of the digital expression, Lav Diaz, Brillante Mendoza, Raya Martin, Cinemalaya, Cinema One, regional cinema et al. With the influx of work from the regions, and other filmmakers yet to be discovered, the term, “Philippine Cinema”, has never been more truthful than it is now, MMFF be damned.
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
Thank you everyone for caring.
@Frog Moth, you can find links about the case here at my multiply blog.
http://momentaries.multiply.com/journal/item/205/Free_Iranian_Cinema_Free_All_of_Cinema
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
@ Geronimo and Gadjo Dilo
Thank you both for sharing your sentiments and information regarding this terrible situation.
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
links from the facebook site:
Filmmakers, festivals protest Panahi jail sentence
http://www.cbc.ca/arts/film/story/2010/12/24/panahi-protest-filmmakers-festivals-petition.html
http://www.petitiononline.com/INDIA/petition.html
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
I received this in my e-mail from critic Olaf Moller. Please share this with other filmmakers you know.
On the Persecution of Iranian Filmmakers
dear friends and acquaintances!
my friend and esteemed colleague gabe klinger send me this open letter to mahmud ahmadinejad written by your colleague rafi pitts; before the letter proper, you’ll find a call for a united show of support for jafar panahi and mohammad rasoulof on february 11th.
gabe asked me to forward this to the filmmakers i know, which i hereby do, and do so gladly.
take note, take action.
cheers
In Solidarity with Jafar Panahi and Mohammad Rasoulof, we suggest to all filmmakers and members of the film industry, regardless of your country or borders, religion or politics, to support our fellow filmmakers by not working for two hours between 15:00-17:00 (local time in Tehran) on the 11th of February 2011, the date of the 32nd anniversary of the Iranian Revolution. To Mr. Ahmadinejad, In 1979 there was a Revolution. In fact, the commemoration, the 32nd year of our Iranian Revolution, is on the 11th of February 2011. The reason you need to be reminded of this is because I feel that you have forgotten the reasons why this all happened. Maybe I’m wrong, maybe you need to explain yourself. Maybe you have your own definition of our Revolution. In which case I feel you should respond to the question: Why do you think we had a Revolution in 1979? The time has also come to clarify your reasons for wanting filmmakers to be put away. Your reasons for wanting to kill a life, a career, in the name of our Revolution, or maybe I’m asking the wrong question: Is it all about your re-election? A very close friend, Jafar Panahi, one of our most important filmmakers, for whom I have great respect as a person, and admiration as a filmmaker, is being imprisoned by your government, by your law. He is sentenced to six years for wanting to make a film. A film he hasn’t even made. Six years in prison on an idea for a film. On top of it all, as though that wasn’t enough, he is sentenced to twenty years of not being allowed to make another film and twenty years of not being able to leave his homeland. Another important young director, Mohammad Rasoulof, is being convicted with the same sentence. His crime: working with Jafar. They are both punished for caring about their fellow man. Punished for wanting to understand the events of June 2009. Punished for caring about the lives that were lost in the conflict due to the elections. Although, need you be reminded, all candidates had been given permission to present themselves by the regime. The choices were very clear and indeed legal. Jafar Panahi and Mohammad Rasoulof made their decision alongside the majority of our film industry. It became the Green Movement. The right was given to us. - Do you think there is anything wrong in wanting to understand why people died in our last elections? - Do you really believe that our country is unaware of the violence the election results caused? - Is it a crime for Panahi to want to make another film? - Is it a crime for Rasoulof to question reality? - Is it because filmmakers want to hold up a mirror on what has happened to society? - Are you afraid of a point of view that might contradict yours? In which case, please answer the question: Why did we have a Revolution? Rafi Pitts, 24th of December 2010, Parisder om
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
To all Filmmakers: On the Persecution of Iranian Filmmakers-An Open Letter to Mahmud Ahmadinejad
http://www.facebook.com/note.php?saved&¬e_id=10150342539400599#!/notes/linao-momentaries/to-all-filmmakers-on-the-persecution-of-iranian-filmmakers-an-open-letter-to-mah/10150342539400599?notif_t=note_comment
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
@Chasing Butterflies
Thanks for caring.
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
Thank you Arman, Ari and Dimitris for your thoughts.
Go to Comment
Free Jafar Panahi (Again!) over 2 years ago
Thank you Ari and Kenji for sharing your thoughts.
Thank you Kenji for posting about Cinefoundation and its response to this situation.
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Free Jafar Panahi (Again!) over 2 years ago
Thank you everyone for keeping the thread, the fight, the hope and the awareness alive on this.
@Grey Daisies, will repost the open letter.
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