Her Head in Films

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Divya Prabha and Hridhu Haroon in All We Imagine As Light (Payal Kapadia, 2024)

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Kani Kusruti in All We Imagine As Light (Payal Kapadia, 2024)

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All We Imagine as Light (Payal Kapadia, 2024)

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Three Wishes For Cinderella (Václav Vorlíček, 1973)

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La Musica (Marguerite Duras and Paul Séban, 1967)

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La Musica (Marguerite Duras and Paul Séban, 1967)

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The Spirit of the Beehive (Victor Erice, 1973)

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The Spirit of the Beehive (Victor Erice, 1973)

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The Spirit of the Beehive (Victor Erice, 1973)

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Dust in the Wind (Hou Hsiao-hsien, 1986)

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Chess of the Wind (Mohammad Reza Aslani, 1976)

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The Other Side of the Underneath (Jane Arden, 1972)

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The Other Side of the Underneath (Jane Arden, 1972)

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Good Morning (Yasujirō Ozu, 1959)

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Distant Voices, Still Lives (Terence Davies, 1988)

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James Baldwin: From Another Place (Sedat Pakay, 1973)

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James Baldwin: From Another Place (Sedat Pakay, 1973)

A short but intimate film of James Baldwin in Istanbul.

Istanbul offered Baldwin a refuge during the tumultuous decade of the 1960s. In a 1970 conversation with Ida Lewis for Essence mag­azine, Baldwin said of his decision to move to the city, “It was very useful for me to go to a place like Istanbul at that point in my life, because it was so far out of the way from what I called home and the pressures.” As the scholar Magdalena Zaborowska shows in her book James Baldwin’s Turkish Decade: Erotics of Exile, which is the essential text about Baldwin’s Turkish sojourn, Baldwin was a pioneer of intersectional thinking and aesthetics, and his survival during the height of the civil rights era depended upon becoming a transatlantic or supranational writer living in transit among differ­ent cultures and languages. Baldwin had first left the United States, for Paris, in 1948, and had lived out of the United States for years prior to his arrival in Istanbul. But the clarity and safety afforded by his time there allowed him to more sharply articulate America’s assaultive realities and to give expression to the connections between his personal wounds and the scars of racialized political history. –Azareen Van der Vliet Oloomi, "James Baldwin in Turkey" (The Yale Review)