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Salt of this Sea

About the Film
Year Released: 
2008
Running Time: 
109
Documentary/Fiction: 
Fiction
Synopsis: 

Born and raised in Brooklyn, Soraya (spoken-word artist Suheir Hammad) travels to Palestine to retrieve her grandfather's savings, frozen in a Jaffa bank account after his 1948 exile. Struggling to feel at home in the land of her ancestors, she meets Emad, a young Palestinian whose ambition, contrary to hers, is to leave forever. When confronted with unwieldy official policies that deny her access to the fruit of her grandfather's life's work, she must take things into their own hands, even if it's illegal. Stubborn, passionate, and determined to reclaim what's theirs, she and Emad set out on a road trip for poetic justice across a lush Palestinian (now Israeli) landscape—after which there is no return. 

Annemarie Jacir's award-winning directorial debut represents a fresh, viscerally affecting, and definitive statement from second-generation Palestinian Americans. Rife with symbolism, director of photography Benoit Chamaillard's color-saturated lensing of Palestinian landscapes and composer Kamran Rastegar's evocative score make palpable the yearning and frustration of a quest to reclaim what was stolen.

~Roya Rastegar, Tribeca Film Festival

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
€800,000
Location: 
Ramallah, France
Other Interesting Production Info: 
Since Palestinians are not allowed to travel from one town to another, unless provided with permits by Israeli authorities, the entire cast and crew were denied permission to move about. Due to such hindrances, the film had to be completed in France.
Categories About the Film
Genre: 
action
drama
romance
Keywords: 
activism and social justice
education
family
immigration
sexuality
state violence and security
Racial/Ethnic Affiliation: 
Arab American
Filmmaking Team
Writer's Name: 
Annemarie Jacir
Producer: 
JBA production of France, Clarity Production, Augustus Film, Louverture Films, Mediapro, Philistine films, Tarantula, Thelma Film
Cinematographer: 
Benoit Chamaillard
Primary Cast: 
Suheir Hammad, Saleh Bakri, Riyad Ideis, Shelley Goral
Exhibition/Distribution Info
Distributor: 
Pyramide International (all media), Lorber Films (USA, 2010- theatrical), Shooting Star Filmcompany BV (2009-Netherlands, theatrical), trigon-film (2008, Switzerland, theatrical), New Star (2009, Greece, all media).
Box Office Earnings: 
$556913
Where to find it/How to get it: 
DVD widely available
Festivals/Awards: 

CANNES - OFFICIAL SELECTION, Un Certain Regard, 2008; FIRST PRIZE - BEST FILM

Sguardi Altrove Film Festival, Italy 2009; SPECIAL JURY PRIZE- Osians Asian & Arab Film Festival, 2008; BEST FIRST FILM- Traverse City Film Festival, 2009; SPECIAL JURY PRIZE - Oran International Festival of Arab Cinema, 2009; RANDA CHAHAL PRIZE - Journées Cinématographiques de Carthage, 2008; AUDIENCE CHOICE AWARD- Houston Palestine Film Festival, 2009; AUDIENCE CHOICE AWARD - BEST FEATURE- Chicago Palestine Film Festival, 2009; BEST FILM- Cairo Refugee Film Festival, 2009; BEST ACTRESS (Suheir Hammad) - Amal EuroArab Film Festival, 2009; PALESTINE'S OFFICIAL OSCAR ENTRY FOR BEST FOREIGN-LANGUAGE FILM, 2008; SOPADIN FINALIST.

World premiere was in May 2008 as an Official Selection at Cannes Film Festival (Un Certain Regard)

Analysis
Personal Film Review and Cultural Context: 

An intimate portrayal of the complexity of Palestinian identity, Salt of This Sea traces Soraya’s visceral confrontation with her family’s emotional and material heritage. Part road film and part adventure, the journey traces the characters’ struggle to find their places in a forbidden landscape where writer and director Annemarie Jacir develops a stark, yet endearing atmosphere based on the dire circumstances that engulf Soraya’s psyche. The chord struck by Soraya’s relationship with Palestine resonates powerfully in the film’s most sensitive moments and the camera’s eye renders her tribulations to be memorable long after the film is over. Moreover, the observational standpoint of the cinematic apparatus allows Jacir to give viewers a larger picture of Soraya as an individual, a symbol of occupied Palestine’s oppression and a powerful voice against a country that still denies its citizens many basic freedoms.

~Farhat Rahman

Readings: 

Terri Ginsberg, “Palestinian Women Filmmakers in the New World Diaspora,” accessed December 17, 2012, http://www.academia.edu/1268981/Palestinian_Women_Filmmakers_in_the_New_World_Diaspora

Just Another Girl On The I.R.T

About the Film
Year Released: 
1993
Running Time: 
92
Documentary/Fiction: 
Fiction
Synopsis: 

Chantel is a seventeen-year-old Brooklynite who is beautiful, smart, popular and absolutely full of attitude. Like most girls her age, she wants it all and is determined to get it. Endearing - not. She is as insulting to the uptight Manhattanites who frequent the grocery store where she is employed, as she is to the Jewish high-school professor determined to teach an African American student body about the Holocaust, as she is to her boyfriend, who just doesn't have the right car Midway through the film, her joy ride takes a turn for what appears to be the worse, but she reacts to a life-changing event not with introspection and remorse, but with denial, narcissism, and renewed, well, attitude.

Bound to be compared with Spike Lee's She's Gotta Have It. Leslie Harris's portrait of a contemporary young African American woman rings perhaps truer in that she is an unidealized character created by a female filmmaker. Harris has the courage in this film to invent a character whom certain audiences may find unlikable. but that dislike may spring from envy. Chantel is a girl who may or may not act appropriately at all times. She is also a woman with incredible drive, generosity, insecurity, and the know-how ultimately to get everything she wants. "It's time for African American women to tell their stories in cinema." claims Harris. Perhaps this film will signal to audiences that it is time to listen.

-Andrea Alsberg

Source: Written by Andrea Alsberg, http://history.sundance.org/films/390 

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
130000
Location: 
New York City, New York
Categories About the Film
Genre: 
comedy
coming of age
drama
highschool
Keywords: 
coming of age
education
family
sexuality
urban life
Racial/Ethnic Affiliation: 
African American
North American
Filmmaking Team
Writer's Name: 
Leslie Harris
Producer: 
Leslie Harris, Erwin Wilson
Cinematographer: 
Richard Conners
Primary Cast: 
Ariyan A. Johnson, Kevin Thigpen, Ebony Jerido, Chequita Jackson, Jerard Washington, Tony Wilkes, Karen Robinson, and Johnny Roses
Exhibition/Distribution Info
Distributor: 
Miramax Films, Artisan Home Entertainment, Cipa, Live Home Video
Box Office Earnings: 
$479169
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

Special Jury Recognition In Sundance Collection at UCLA

Analysis
Personal Film Review and Cultural Context: 

Chantel Mitchell , brought to life by actress Ariyan Johnson Mcdaniel, has her head in the books but her mind on the boys in this 1992 film. Aware of her own erotic power from the sway in her walk to the pout of her lips, this seventeen year old girl is sure that she can have any man she wants. When she goes too far she puts her dreams of leaving her Brooklyn housing project and making a better life for herself at stake. Book smart and street savvy, for Chantel, what many young women need to be taught about self respect comes as common sense, for she is fallible but never weak.  She fulfills Director Leslie Harris’s storyline, emphasizing that not every Black teenager is the same and pregnancy doesn't have to be the end of a life. With an early 1990’s Hip-Hop and R&B soundtrack and the audience as her diary, Chantel along with her boisterous and fun friends give us insight into the way Black teenagers talk about and understand sex. Through this film Leslie Harris brings viewers back to an age when we all thought we knew all there was to know about living. Just Another Girl On The IRT will have you laughing and eager to give Chantel all the right answers.

Written by Quela Jules

How The Garcia Girls Spent Their Summer

About the Film
Year Released: 
2005
Running Time: 
128
Documentary/Fiction: 
Fiction
Synopsis: 

What does female desire look like? And how do self-inflicted limitations and social expectations shade and color it? In her tenderly comic, richly textured feature debut, Georgina Garcia Riedel lovingly explores the terrain of longing, loneliness, and self-realization among three generations of single women in a Mexican American family as they grapple with romantic drought.

As sweltering summer stretches over a sun-bleached Arizona border town, Doña Genoveva, the Garcia family matriarch, decides to buy a car. The only catch is that she doesn't know how to drive. When she enlists Don Pedro's pedagogical skills, sparks begin to fly--at her house and beyond. Her daughter, Lolita, played with deadpan poignancy by Elizabeth Peña, seems to have hit a dry spell until things start to sizzle at the butcher shop where she works. Meanwhile, Lolita's teenage daughter, Blanca, a radiant America Ferrera (from Real Women Have Curves), engineers an awakening all her own. It's as if the languid heat wave has thawed everyone's defenses and jump-started a sexual revolution.

Like the folks in the story, Riedel's camera never hurries, savoring the poetic vistas and lazy rhythms of the rural Southwest without resorting to sentimentality. Her three heroines are utterly human--full of idiosyncrasies and unexpected charms. In each of them is a distinctive, newly discovered sensuality, an engine that drives them forward, kicking up dust as they go.

Source:  Written by Caroline Libresco, http://history.sundance.org/films/3292

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
200,000
Location: 
Somerton, Arizona
Categories About the Film
Genre: 
comedy
coming of age
family
romance
Keywords: 
coming of age
family
rural life
sexuality
Racial/Ethnic Affiliation: 
Chicano/a
Latin American
Latino/a
Mexican
Filmmaking Team
Writer's Name: 
Georgina Riedel
Producer: 
Olga Arana, Jose C. Mangual, Georgina Riedel
Cinematographer: 
Tobias Datum
Primary Cast: 
Elizabeth Peña , America Ferrera , Lucy Gallardo
Exhibition/Distribution Info
Distributor: 
Maya Entertainment, Loosely Based Pictures
Box Office Earnings: 
$91432
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

¨      World Premiere: 2005 Sundance Film Festival

¨      Nomination : 2005 Sundance Film Festival

¨      Won Best Unreleased Movie- 2008 Women’s Film Critic Circle

Analysis
Personal Film Review and Cultural Context: 

Love, lust, judgment, and guilt know no age in Georgina Garcia Riedel’s 2005 film How The Garcia Girls Spent Their Summer. The film is a sun drenched narrative of three generations of mexican women and their individual encounters with love. Framed around the theme of men and their cars,  Riedel’s lingering camera lets the story of a teenage daughter’s virginity,  a sexually frustrated divorcee and a grandmother’s first time experiencing sex out of wedlock unfold.
The characters Lolita, Blanca, and Doña Genoveva, brought to life by America Ferrera, Elizabeth Peña, and the late Lucy Gallardo each travel a different road. As a family, these women collectively disrupt traditional mother daughter roles through humorous and snappy dialogue. As they each take chances, and make mistakes with their male counterparts, audience members will accompany the Garcia girls in the southwestern heat, and watch them revisit and re-connect with the complex pleasures of womanhood one Arizona summer.

Written by Quela Jules

I'm Through with White Girls

About the Film
Year Released: 
2007
Running Time: 
93
Documentary/Fiction: 
Fiction
Synopsis: 

Having recently been involved in a disastrous string of relationships with white women, a hip black comic book artist must confront his own fear of commitment after vowing to exclusively date women of his own race. Jay is a hip black comic book artist whose experiences dating white women have left him wanting more. Realizing that he's in desperate need of some serious change, Jay launches "Operation Brown Sugar," and subsequently begins dating a beautiful "Halfrican-Canadian" writer. Now that race doesn't factor into Jay's dating habits anymore he feels like he may have found the love of his life. But while he may not have to worry about ending up with the wrong girl, Jay is about to discover that he may be in danger of letting the right one slip through his grasp.

~ Jason Buchanan, Rovi (NY Times).

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
Independently financed WGA low budget/SAG ultra low budget production
Categories About the Film
Genre: 
comedy
romance
Keywords: 
family
interracial relations
urban life
Racial/Ethnic Affiliation: 
African American
Filmmaking Team
Writer's Name: 
Courtney Lilly
Producer: 
Chris Adams, Lia Johnson, Camilla Rantsen
Cinematographer: 
Jacob Pinger
Primary Cast: 
Anthony Montgomery, Lamman Rucker, Lia Johnson.
Exhibition/Distribution Info
Distributor: 
Image Entertainment
Where to find it/How to get it: 
DVD widely available
Festivals/Awards: 

Visions Award at Bahamas International Film Festival, Blockbuster Award for Best US Feature at ABFF 2007, Best Narrative Feature at the Hollywood Black Film Festival 2007, Platinum Award, Best Romantic Comedy at Houston Worldfest 2007, Audience Award at Cannes Pan African Film Festival 2007, Audience Award at the Roxbury Film Festival 2007, Audience Award at Martha's Vineyard AA Film Festival 2007, Nomination Best Director First Feature at LA Pan African Film Festival.

World premiere: Pan African Cannes Film Festival

Analysis
Personal Film Review and Cultural Context: 

In comparison to mainstream romantic comedies, I’m through with White Girls redefines conventional tropes that characterize the genre. Jay Brooks is a slacker, hipster black man, whose entanglements with white girls have resulted in a series of comical breakups. He finally meets a mixed-race feminist writer, Catherine and subsequent scenarios are fraught with humorous peril. Yet, through the analytical lens of director, Jennifer Sharp and writer, Courtney Lilly, the film effortlessly examines social constructs of race, and class inherent within the American fabric, with subtlety and humor. The film is a warm and radiant story that humanizes complex situations through characters motivated by love, rather than greed. Jay and Catherine defy racial and culturally predefined stereotypes and the methodical acting alongside the humorous veneer of black contemporary culture makes it an unconventional yet intellectually engaging watch.

-Farhat Rahman

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ASIAC

My work at ASIAC (formerly AIDS Services in Asian Communities), an HIV service organization in South Philly that primarily works with immigrants, has pushed me to recalibrate how I understand peace, conflict, and social justice at very fundamental levels.  During the first year I was at ASIAC, I helped to work on a Needs Assesment of the Asian and Pacific Islander (API) immigrant community in Philadelphia. As I wrote in a blog entry, last December, challenges facing HIV-positive Asian and Pacific Islanders range from their limited proficiency in English, to lack of access to insurance, to poor nutrition, to harsh immigration policies.  These obstacles have been especially apparent during the work I do with clients, particularly Indonesians who I can talk with directly in Indonesian.  It is jarring to realize that many people sought asylum in the US to escape violence in their home countries, only to become sick with a life-long illness here and lack the proper resources to treat it.

PCSJS Portfolio's picture

Carol Rogers

I heard Carol Rogers speak at Bryn Mawr while she was a Hepburn fellow in 2009.  I was incredibly impressed with her work at the Department of Health, and am even more awed that – in a very small way – I am now helping to continue the work she began.  Among many other things, Rogers helped to initiate a program that distributed free female condoms, which women can insert themselves up to five hours before having sex, to residents of Philadelphia.  The program proved very effective – women were more likely to use barrier protection during sex, felt more in control, and felt better about their health. The female condom “was developed as an alternative to male condoms, in recognition that the decision to use male condoms was highly dependent on the willingness of the male sexual partner …The female condom has been widely labeled the only "female initiated" method of preventing STIs.”

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ICAAP

When I first traveled to Indonesia, I was very excited to find out that a large UNAIDS conference would be overlapping with my trip, and that my professors had connections who could help sneak me in.  The conference itself was wonderful, in the sense that I was able to speak to and meet many scholars who were doing work in the field I hope to eventually go into.  It was thrilling to hear about the preeminent HIV research being done around the world at the same time I was taking my first stab at doing independent research.  But the experience also disillusioned me, and made me rethink my admiration for big international organizations whose mission it is to fight health inequality.  The conference was held at the Bali Convention Center, an upscale conference building adjacent to some of Bali’s must luxurious hotels, which was built after local residents were “bought” out of their homes.  The beaches in front of the complex have become de facto “whites only,” as locals are strongly discouraged from spending time there.  Moreover, the large amount of water used by the convention center and surrounding hotels (and their pools and fountains) where conference attendees stayed means that local populations are forced to ration water, and often only have running water for a few hours a day.

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Peggy Macintosh

Peggy Macintosh, who came to Bryn Mawr during my freshman year, was one of my favorite speakers I’ve heard throughout my time here. Four years later, however, having dissected her writing in a number of my classes, what remains distinct about the workshops she led was not the content of what we talked about, but the way in which we did the talking.  Macintosh’s workshops were one of the first times I saw students and teachers interacting on an equal level – equally vulnerable and equally worthy of speaking – and it upended some of my assumptions about what school should be and how professors should behave.  I would later go on to attend Posse retreats and be in classrooms with some pretty radical educators, but these workshops were the first time I saw teachers and students discussing the complexities of their lived experiences.  I saw students comforting professors who were crying and professors in awe of what students had to say.  I now think that that schools should be egalitarian environments where learning is mutual, and Macintosh was the first to introduce to that model.

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MAST

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Ronald McDonald House

Throughout high school and my freshman and sophomore year at Bryn Mawr I volunteered at the local Ronald McDonald House, an organization that provides a place to stay for families with children who need to travel for their healthcare.  I loved interacting with the families I got to know from around the world, and always looked forward to spending time with them.  But I also began to think critically about the health inequities I saw amongst the people I met, including lack of access to insurance, limited health resources in rural areas, and “diseases of poverty,” such as lead poisoning.  Without knowing it, these observations were my first foray into public health research, and made me hungry for more.  I have since jumped into the field from both research and service angles, and understand many of these inequalities from a more nuanced perspective, but this initial awareness still dictates how I think about health and healthcare.

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