Category Archives: World Cinema

Papicha

The film they tried to supress

Papicha is a fierce and probing look at the 1990s Algerian civil war from the perspective of its young women. The film follows Nedjma (otherwise known as Papicha), a university student who dreams of becoming a fashion designer and opening her own boutique for the women of Algeria. But all around her civil war is closing in, Islamic extremists are locked in a violent battle against the military government. Posters threatening women who do not wear Hijabs in public begin to appear on her campus and mobs of black Hijab clad women burst into their lectures demanding they strictly adhere to their religious demands. In protest, Nedjma channels all of her creative energy into a fashion show, defiantly ignoring these impending dangers in favour of her own feminine resistance.

Although the story of Papicha is fictional, the film’s director Mounia Meddour has stated that it is partly based on her own experiences growing up in Algeria during these times. Like Nedjma, Meddour studied and lived at the City University until her and her family were forced to leave the country when she was 18 due to increasing violence. This film is in homage to the young women, embodied by Nedjma and her friends, that stayed and formed a resistance against this violence and patriarchal oppression.

The character of Nedjma and her closely knit group of equally defiant female friends, is also illustrate of the youth movements that were appearing in Algeria at this time, in active protest of this rising extremism and violence against civilians. One of the most notable groups of this time was the Youth Action Rally (RAJ) which was formed in 1993. This organisation was created in response to the rise of radical Islamism and wanted to bring these divided forces back together.[1] It was passionate in its support of women’s freedom and right to protest, with its first ever president being a woman. Its committees were primarily founded on university campuses, meaning the organisations members were primarily made up of young intellectuals. In focusing her film on a university campus and its female students, Meddour is celebrating the activism of youth movements like the RAJ during this period, providing a hopeful, united young voice to counter the violent oppression of this era.

Interestingly the RAJ is still an operating organisation today. They have recently lent their efforts to supporting the ongoing pro-democracy protests in Algeria, with multiple members of the group being arrested during these peaceful protests including their president.[2] The events shown in Papicha and the 1990s Algerian Civil War directly link to the current turbulent political crisis in Algeria. Young protesters are being arrested merely for their peaceful political activism. Amnesty International has called these arrests ‘an unacceptable violation of their rights and liberties’[3] It appears that Papicha’s for freedom is not yet over, as is the case for thousands of young Algerians protesting for their right to a democratic government.

PAPICHA will be streaming in the UK from August 7th

https://www.papichafilm.com/

[1] Ratiba Hadj-Moussa (2019) ‘Youth and activism in Algeria. The question of political generations’ The Journal of North African Studies

[2] https://peoplesdispatch.org/2020/03/09/algerian-security-forces-arrest-10-anti-government-protesters/

[3] https://www.amnesty.org/en/latest/news/2019/09/algeria-end-clampdown-on-protests-amid-wave-of-arrests-targeting-demonstrators/

“A handmaid’s tale taken straight from the headlines”

PERMISSION A Film By Soheil Beiraghi

In 2015, Niloufar Ardalan, Captain of the Iranian Women’s Futsal team, was not be able to lead her teammates in the Women’s Futsal Championship, because her husband would not allow her to renew her passport. In 2017 a further eight Iranian female athletes were also banned by their menfolk from leaving the country. Everyday Women in Iran are denied the right to freedom of movement, dictated by their age and marital status, by law husbands, fathers and male guardians have the right to stop a woman travelling abroad. These cases became the inspiration for director Soheil Beiraghi’s second feature film PERMISSION starring Baran Kosari. 

Afrooz (Kosari) is the captain of the Iranian international women’s Futsal National Team. After eleven years of hard work, her dream is finally about to become a reality as she will be leading her team in the Women’s Asia Cup’s Final, an opportunity to further her professional career. En route to Malaysia, Afrooz discovers that she has been forbidden to leave the country due her estranged husband’s disapproval. In PERMISSION we join Afrooz in the battle for her freedom. A battle, in which, a spiteful estranged husband has the law on his side.

“Beiraghi is to be commended for making a film which has provoked debate in Iran regarding the law that gives every husband there the absolute right to act in this prohibitive way.”

(Mansel Stimpson, Film Review Daily)


Beiraghi has used his voice to create a film that urges the viewer to look at tradition and law from the perspective of the oppressed. It is impossible to look at Afrooz’s story and not feel compelled to join her in her fight for gender equality. The strength of the women affected is undeniable. Now is the time to break tradition favouring a patriarchal society.  

PERMISSION is available in UK Cinemas and On Demand NOW

CURZON Home Cinema


WWW.PERMISSION.FILM

The Wound – When Controversy Prompts Conversation

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John Trengove’s debut feature and Oscar-shortlisted film, THE WOUND (INEXBA), has been bestowed with accolades and critical acclaim; going on to sweep the South African Film and Television Awards this past month. With such success, there was always bound to be a degree of controversy. As with any hard-hitting film that delves into themes of sexuality, masculinity and culture; finding a consensus can be difficult, if not impossible.

The controversy in question focuses on the way in which the film handles its depiction of the Xhosa ethnic group and the rite-of-passage ceremony these young men are put through as they transition to manhood. A call to ban the film was effectively successful in South Africa but has since been overturned, allowing it a full run in cinemas. Critics of the ban and controversy have pointed to an inherent homophobia that underlines the backlash – claims that are exacerbated by the fact the film hadn’t even been released when the controversy began to emerge.

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Nevertheless, isn’t any dialogue surrounding a LGBT film helpful? Isn’t a film like this essential in reaching out to queer black men and women in the 8 million strong Xhosa ethic group? Shouldn’t Cinema provide a voice to those who are oppressed?

First and foremost we must address the very nature of the controversy and how some have argued that the film exposes private and secretive cultural traditions. Furthermore, critics have contended that the filmmakers had no right to explore these customs; attacking the film as an appropriation and distortion of their culture. However, the films depiction of these traditions is never exploited. Rather, director John Trengove directly avoids graphically depicting the ceremonial event and maintains a level of ambiguity that respects the culture but also underlines the focus of the film: a love affair between two men.

When a film such as THE WOUND is classified as R-rated and essentially deemed ‘pornographic’, isn’t it essential to debate these issues? Oppressive and draconian reactions to the tougher aspects of the film are an attack on both free-speech and art itself. With cinema, audiences are given the opportunity to submerge themselves in different cultures, ideas and mind-sets. To be transported, shocked and even inspired.

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John Trengove argues that the setting of the film is in direct resistance to ideas perpetuated by many African leaders; some whom have suggested homosexuality is un-African and a symptom of western decadence. In an interview with Peccadillo our friend the film’s director stated: “We knew we wanted to tell a story about same-sex desire in a specifically African culture”, directly challenging African taboos around homosexuality that has been embedded into their culture. The filmmaker’s bold storytelling not only opposes these beliefs, it also encourages a much-needed conversation.

Devoid of the freedom that cinema can provide, people are bound to be more close-minded, more Orwellian and more muted. Cinema – no matter how hard-hitting – gives us all a voice.

So, endeavour to go and see THE WOUND when it hits UK cinemas on 27th April 2018; make up your own mind about the film and engage in a much-needed dialogue with those around you. That’s what Cinema is all about!