This post is created from excerpts of student blog posts on films featured in the 10th Annual Davis Feminist Film Festival line-up.
How is the Davis Feminist Film Festival Curated?
The Davis Feminist Film festival is curated in three stages.
First, the films are pre-screened by our advisory board members–who look for films that fit our basic criteria–(1) Films created with an eye for gender and social justice issues, (2) Films that link local and global issues (3) Films created by people underrepresented in the media field (women, people of color, queer/transgender, disabled) (4) Films made by local filmmakers.
In the second stage, the films are screened in an undergraduate curation course called Feminism Film and Curation. In this course students study film theory, the politics of representation, and feminist theory. They then apply this knowledge to the films submitted to the festival. The student fill out detailed evaluation forms for each film, and engage in open debates in class about each film. They also complete weekly blog posts where they discuss their thoughts and opinions about the films.
In the third stage, the director and a few select members of the advisory board go over the evaluations and blog posts submitted by the undergraduate students, and use this feedback to help them determine the final line-up.
Below are excerpts from blogs posts from students in the Feminism Film and Curation. They are organized by the order in which they will be shown at the festival.
NIGHT ONE: THURSDAY APRIL 30, 205
Thokozani Football Club: Team Spirit (19m)
Thokozani Football Club is a documentary film inspired by the gender violence experienced by lesbian soccer players of South Africa. Through interviews, team members of Thokozani share their stories from rape to community and familial rejection. The unconventional soccer team, connected by sexual orientation rather than locality, creates a safe, proactive space for LGBT minorities and challenges dominant ideas of home and community.
The film uses an interactive mode of documentary, and consists mainly of interviews from the team members. It was created and made about an underrepresented group and discusses issues of gender violence that can be understood locally and globally. –Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
One Thousand and One Teardrops (18m)
(One Thousand and One Teardrops Trailer)
Loneliness is a narrative film that depicts Iran’s history of veiling laws and their affect on women. Drawing on parallels between 1935 and 1980, the film depicts the fear and danger Iranian women experienced under laws that both prohibited and mandated veiling. Through aggressive and ominous visuals, the film portrays the stress of body policing.
The film also gives a piece of Iranian history that isn’t well known in the United States, which is something I appreciated. The film touched on topics of gender, gender performance and body policing. The film shows Iran’s extreme case of policing gender through the legal system, but gender is policed everywhere, especially in the United States. I also found the young girl’s part of the story very interesting because it highlighted the reproduction of gender performance. From a young age she is taught to be aware of her body at all times. She has to constantly adjust her veil and is always making sure she is alone before acting and especially indulging (with the berries). This phenomenon of disciplining the body has been studied in the U.S. (Becoming A Gendered Body by Karen A. Martin for example) and I think the film opens up this discussion by linking global and local issues. –Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
Loneliness is a narrative film from Iran about the 1939 verses 1980 (to present) veiling practices in Iran and the different ways such practices affect women’s lives…The film that I enjoyed the most [in the 3 hour block of films we watched today] and I think showed an in-depth storyline/narrative was Loneliness. I know that the topic of veiling can be extremely controversial, but I like that this story is told from a woman’s perspective and is actually shot in Iran, featuring Iranian actors. This film played around with the narrative film tool of time and featured different shots chronologically, with the use of duration (1939-1980). There is definitely a clear sign of parallelism within the film with the river playing a major role for the young woman and later young girl. I also noticed the motif of blood and the color red throughout the film and I am still pondering its significance. The production of the film and the film quality is excellent, as all the shots are beautifully done. The only critique I have is the delayed scene of the woman being beaten by the policemen. I thought this scene lasted for too long, but I understand its purpose within the film. I think this film would be a great film for the DFFF as it covers real issues about veiling and gendered practices in Iran.–Glynis Kincaid for Soc 195: Feminism, Film, & Curation.
Tradition Objectified (7m)
The film “Tradition Objectified” explored the circumstances that uphold and continue the social construction and standards of gender identity and gendered development of image. This documentary film which also seemed to have narrative qualities demonstrated from a lens that is exemplifying the continual reproduction of gendered roles that women and girls experience. I think this film should be in the DFFF because it portrayed an aspect of gender reproduction and female marginalization around image. –Shelby de Genova for Soc 195: Feminism, Film, & Curation.
Tells the story of “the making of” a traditional Indian Dancing girl in three stages: beginner, intermediate, and advanced. We see the progression in the dance studio. Since the students are played by three different girls but is presented as the stages in one girl’s progression, this qualifies as a narrative. It presents a subject not many people know about. The girl addresses the camera at one point. Looks like it was shot mostly in a garage/studio which suites the subject matter in that we’re being given an intimate look at a subject that is not always shared with outsiders. –Written by Wendy Schmidt for Soc 195: Feminism, Film, & Curation.
Fixed is an Australian narrative that tells a story of a tenacious young girl whose dream of having puppies is threatened when she learns her dog is going to be neutered. This lighthearted comedy’s goal-oriented plot follows a crafty young girl determined to get what she wants. Though her tactics are inappropriate and borderline dangerous, cuteness prevails and the audience can’t help but experience the joy the films has to offer.--Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
Previous Scenes is a Spanish language observational documentary that captures a family’s life in Cuba. Filmed entirely within a home, the film raises questions about domesticity, familial ties, and health. The film is a peak into the personal and intimate familial bonds that negotiate dependency and caregiving.
As an observational documentary, the film accomplishes its task of minimal intervention and produces a unique perspective. Subtle and languid, the film enhances the impression of real time through editing and lighting. The colors of the film are soft and on the darker side, which allows the bright red balloon to appear more dramatic, threatening and prominent. Without intertitles or voice-over commentary, the audience is allowed to experience the film as a fly on wall. Viewers are indirectly addressed and all speech is overheard as the family members engage with each other. The lack of medium interaction combined with the length and languidness of the film allows viewers to thoroughly and freely interpret the film. The editing and camera placement makes the film almost poetic. Despite the stress and urgency that is often surrounding health and disease, and even through loud family encounters, the film remains calm and even relaxing
Reaction of the Curation Class: I enjoyed hearing other students’ reactions. I thought their feedback about family dynamics and being able to relate made the film a contender for the festival. The production quality. An original story that’s not common in mainstream media. The ideas of family, elderly care and masculinity are interesting and tie in well with other films. Lots of room for interpretation. Subtle. It’s an observational documentary, which is rarely submitted. Afrocentric and POC representation. --Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
I think the documentary Previous Scenes is incredibly interesting and complex, to the point that I think it would take multiple viewings to understand all the little motifs, themes, and points within the film. I loved how the documentary was strictly observational, as it worked to not bias the viewer’s understanding of the film, refreshingly not offering a set story with a perfect ending, but rather showing the audience a slice of the larger pie that is the older man, daughter, and grandson’s daily lives. I also had a hard time connecting to the film, which I believe speaks to my privilege in this world as a white, cis, middle class individual. So that fact immediately put me off to the film, as I was not enraptured by every scene. However, hearing a couple of my classmates describing how they felt deeply connected to the film, I started to reassess my own positionality and my own understanding of the film’s value. I actually think for this very reason, the film could be great for the Davis Feminist Film Festival, as it does not feature white, middle class folks, but rather shows an incredibly real and tangible existence that is extremely prevalent and could connect with many people in the audience. I definitely recommend we show this in the festival! –Written By Glynis Kincaid for Soc 195: Feminism, Film, & Curation.
We are given a unique opportunity to come into the home of a family for a very short time. We find out three people live in this home: Grandpa, Mom, Grandson. The Grandpa is very frail and we can see his bones through his skin. The baby seems to be ill as well because they are concerned that he hasn’t had a bowel movement in days. The mom has a job and has to leave at times. The doctor comes to the house and asks the man if he has his x-ray so apparently the medical system there is different than in the US. We learn Grandpa has emphysema and doesn’t have long to live. He has been told to exercise his lungs by blowing up a balloon. The grandson is afraid of balloons. Grandpa keeps blowing up balloons in front of grandson until he is no longer afraid and by the end of the film grandson is playing with a balloon tied to his crib netting. Mom’s sister comes to visit with what might be her husband? The sisters talk about other family members who have died and reminisce about when they were younger. In spite of his health problems, the grandpa has a very positive outlook and makes plans to get back in shape and buy a bicycle. He asks his grandson, “who has the worst flu, you or me?” The mom takes on much of the care-taking when she is home which is probably similar to most households in the world. When she is gone we get to see the connection between the grandpa and the grandson. The grandson even shares his name. To me this film was a little on the long side but it was such a rare glimpse into the struggle of this multi-generational family’s everyday life… –Written by Wendy Schmidt for Soc 195: Feminism, Film, & Curation.
Ngutu follows a man from Senegal trying to make it work in the newspaper-selling business in Spain. However, he quickly finds out that maybe people would rather buy a newspaper from a vending machine than from a person. This is a very light-hearted film with a strong main character that reels you in so you can’t help but laugh and feel sympathy. It’s a short narrative film that often time has the main character break the fourth wall in order to address the viewer directly—this contributes to the humor in the film. It was very creative with high production quality and great cinematography. The music really accompanied the film too. Although the film doesn’t contribute much to the DFFF in terms of gender I think it would really be a great addition and mix for the festival, providing laughs and smiles to the audience.–Written By Deyanira Nava for Soc 195: Feminism, Film, & Curation.
She Is Beautiful When She is Angry
She Is Beautiful When She Is Angry Trailer
NIGHT TWO: FRIDAY MAY 1, 2015
This film was visually beautiful. The subject was the break-up or at least attempting of a break-up of a lesbian couple. The couple is shown separately for the most part except for one scene where they simultaneously sit up but they are facing opposite directions. There is another scene that simulates them kissing but they are not actually together. The subtitles are a bit distracting and, as with any subtitled movie, it would be better if we could just watch instead of going back and forth from watching to reading. But, other than that, it was so visually stunning that maybe it could be enjoyed even without reading the subtitles.
From my interpretation “I Called it Love” looked at the relationship of two women by exploring the issues and concerns surrounding labeling and sexuality. It did not have a clear cut Narrative which is why it seemed to express qualities of Experimental film as well. It explored a relationship between two women while leaving the impression that they could not truly live the lives they wanted together due to social pressures and norms. The film had beautiful visual aesthetic, very clear and readable subtitles and through the Experimental aspects allowed room for the viewer to create their own interpretation of what the film was truly about. I enjoyed this film, but felt it was a little slow in its development, and didn’t express much through the story.–Written by Shelby de Genova for Soc 195: Feminism, Film, & Curation.
Modou Modou is a documentary that spotlights a Senegalese man living in the United Kingdom while attempting to pursue the “American” dream of making it big. This film really sheds light on the idea of what it means to be an immigrant. For Tanor, the main character, it means waking up early, rolling his cart for miles, and setting up the farmers market every day. It is an honest film that conveys the importance of an immigrant’s life while also managing to keep it light hearted. I really loved this film. It is an observational/participatory documentary that does a really great job of really focusing on its subject. The focus really allows the viewer to get to know Tanor; the camera follows him on his daily trek to the farmer’s market, through the metro, and even encounters nasty micro aggressions he receives. Tanor is extremely funny, honest and relatable. I think that people will really sympathize with this film and should definitely be screened at the DFFF. --Written by Deyanira Nava for Soc 195: Feminism, Film, & Curation.
Modou Modou is an interactive documentary that depicts an uncommonly known face of migrant work. The film captures a day in the life of a Senegalese migrant worker in London and how he maneuvers daily through microaggressions and issues of race, class and family.
The man being followed was charming and funny. He hasn’t become bitter by his imperfect circumstances. I like that this film showed another face of migrant work. The face of the migrant worker is often Asian or Latina mothers who have taken jobs as caretakers to other families. I like that this film showed a Senegalese father. It didn’t lose site of parenthood and family and the effect on the family from being separated. Highlights issues of race, class and family.
Because the film isn’t directly about women, I think some people might not think it’s fit for the festival, but I disagree. Migrant work is a feminist topic of concern that deals directly with family, so I would consider it a women’s issue. –Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
Heart to Heart is a narrative film created by Davis locals. The film’s narrator introduces heartless Maggie and double-hearted Hector, who are both alone and depressed on Valentine’s Day. The narrative uses range and depth of story information to flirt with the audience. The suspense of knowing any day can be Maggie’s last distracts viewers and makes them vulnerable to surprise. Through nondiegtic images and quirky acting the film tries to differentiate itself from the typical love story.–Written By Michaela Campos for Soc 195: Feminism, Film, & Curation.
Allah gives and Allah takes. After losing her husband to the Mumbai terrorist attack, Aabida is granted the freedom she has always longed for. Through beautiful visuals and light humor, the film creates a different, dynamic image of a grieving Muslim woman.
A beautiful film. I really enjoyed watching it. I think it did a great job of representing a Muslim woman with agency and depth. It challenges the heavily circulated image of Muslim women needing to be saved. Also touches on Islamophobia (husband was a police officer, but because he’s Muslim they want to search the house)--Written By Michaela Campos for Soc 195: Feminism, Film, & Curation
The Friday night films will be followed by a Q & A discussion with an associate producer of In The Turn and founder of the Vagine Regime, Tori Harris Talavera aka “Injure Rogers,” and Konnor Robison-Williams aka “MisterSister,” one of the stars of the film.
