Dawn Breakers International Film Festival (DBIFF)

I had a comment a while back that unfortunately my filter thought was spam, however I caught that it wasn’t and discovered this amazing film festival just in time to share it for Naw Ruz!

Dawn Breakers International Film Festival (DBIFF)

From their website:

The purpose of the Dawn Breakers International Film Festival (DBIFF) is to discover, recognize and showcase films and filmmakers of all backgrounds who have a world-embracing vision and incorporate, discuss or reflect on themes that relate to the Bahá’í Faith*.

Our Mission:

  • To encourage filmmakers throughout the world to contribute to the advancement of the New Civilization** via film and multimedia visual-arts mediums.
  • To introduce and recognize Bahá’í filmmakers and/or Bahá’í-themed* films from all over the world.
  • To invite and encourage industry professionals and the general public to participate in the process.

*The films need not to be made by the Baha’is or discuss the Faith directly. For a list of “Baha’i themes” please see the FAQ page.

I am sad that I missed it, but hopefully I’ll be able to blog to promote next year’s.  However you can still check out the films from 2009 and 2008 on the website, two of which I had blogged about  (Armed and Afghan) .  I’ve included their trailer to the festival here:

Enjoy!

Advertisements

Children of a Lesser God — Communication and Connection

Film:

Children of a Lesser God, 1986

Starring William Hurt and Marlee Matlin.

Synopsis (from Netflix):

Speech teacher James Leeds (William Hurt) uses unconventional methods to reach his hearing-impaired students but can’t make headway with the school’s deaf custodian, Sarah Norman (Marlee Matlin, who captured the Best Actress Oscar). The brainy but cynical Sarah thinks it’s better to stay in the safe confines of her voiceless milieu than to contend with a callous world. Can James get through to Sarah and release her from her cocoon of silence?

My Thoughts:

My heart is still beating rapidly from watching this film.  It’s tagline is accurate.  There are so many different directions I could go from here.  The film unravels many themes and subjects from education, to communication, and connection.  These are all topics we deal with in our daily lives, and for the most part struggle with.  How do we educate without patronizing?  How do we learn without pride?  How can we truly listen and communicate?  How can we connect constructively?

This film follows two characters, a speech teacher at a deaf school and an angry former student who contends to live in silence.  This dynamic addresses a greater issue in our society.  How can people overcome differences to work, live, and grow together happily without imposing their views on others?  And how can we learn from others differences, and be humble enough and detached enough to embrace them?

In this film the difference is hearing versus deafness which creates an incredible hurdle for communication.  Some of the barriers to communication are direct and obvious and huge, but I think that the lessons we take away from the film can transcend this particular situation.  There are often barriers to communication which aren’t as conspicuous but that block communication just as strongly.

A fundamental lack of communication between peoples seriously undermines efforts towards world peace.  ~ The Universal House of Justice

It is amazing how often conflict springs from miscommunication, whether inter-personally or internationally.  We need to work to break down our barriers.  Some of the barriers that James and Sarah had to break down were pride and fear.  Pride kept Sarah from wanting to speak because she did not want to do anything she was not good at.  Having been ridiculed and harassed for attempting to speak kept her from wanting to ever speak again.  Pride also caused James to hurt Sarah.  Even though he did not think he was better than Sarah because he had an ability she did not have sometimes his actions communicated that and it was hurtful. Part of that also reaches to fear, as Sarah feared that she would get hurt and in doing so would see actions of James’ that were neutral as negative.

O SON OF DUST! The wise are they that speak not unless they obtain a hearing, even as the cup-bearer, who proffereth not his cup till he findeth a seeker, and the lover who crieth not out from the depths of his heart until he gazeth upon the beauty of his beloved. Wherefore sow the seeds of wisdom and knowledge in the pure soil of the heart, and keep them hidden, till the hyacinths of divine wisdom spring from the heart and not from mire and clay. ~ Bahá’u’lláh

This is something we all can think about and learn from.  How do we communicate?  Do people always communicate what we think they do or do we add meaning that they did not convey?  When we fear or judge people too quickly we can interpret what they say differently then they perhaps intend.  We can insert malice where there is none and that will only lead to conflict.

On the flip side we need to be aware of the other party when we speak.  Sometimes we are quick to speak before we fully think about how our words could hurt others.  This happened when James asked Sarah to say his name.  She had already expressed her reticence to speak and how she felt he was pressuring her, so when he did that it made her feel disrespected and used.

He must never seek to exalt himself above any one, must wash away from the tablet of his heart every trace of pride and vain-glory, must cling unto patience and resignation, observe silence and refrain from idle talk. For the tongue is a smoldering fire, and excess of speech a deadly poison. ~ Bahá’u’lláh

I think often what creates conflict and barriers to communication are these two forces, pride and fear.  True communication takes patience, love, and humility.  It takes admitting that you might have misunderstood something and the willingness to ask for clarification so that you can better understand before judging.  So often people point to good communication as a factor for a good marriage.  It involves give and take, listening more often then speaking (for you should listen to yourself and how you come off in addition to listening to the other pers0n.   This film helped awaken my eyes to how we all struggle to communicate, so that we can build trust and connect.

Repost : Movies (Spiritual motivation behind movie watching)

I just read a wonderful post on a blog I just discovered called “One Baha’i’s Approach” that shares insight into watching films with a spiritual eye that I thought you guys might enjoy to see why I do what I do.  I highly recommend the blog, and you can find it here, and the original post here.

Movies

I recently asked you, dear Reader, for your thoughts on ideas for topics I could try and address. Many wonderful suggestions came in, but one, in particular, was one that I could immediately write: Movies.

The idea was presented in the context of writing a review of a movie in light of the Baha’i teachings, but I’m not sure I want to do it quite like that. Instead I will talk a bit about my own approach to movies, in light of the Baha’i teachings.

My guidance comes mainly from two quotes, one by Baha’u’llah and another from Shoghi Effendi. The first, found in the Epistle to the Son of the Wolf ,refers to arts and sciences, saying that they should be “productive of good results, and bring forth their fruit…conducive to the well-being and tranquility of men“. This quote alone radically changed the way that I approached my own work as an artist.

The second quote is found in The Advent of Divine Justice. In that text, Shoghi Effendi speaks of the three spiritual weapons we have at our disposal in our fight “to regenerate the inward life of their own community, and… to assail the long-standing evils that have entrenched themselves in the life of their nation.” The three weapons, as I’m sure you know, are “a high sense of moral rectitude in their social and administrative activities, absolute chastity in their individual lives, and complete freedom from prejudice in their dealings with peoples of a different race, class, creed, or color.”

The second of these three is further defined by the Guardian in the following quote: “Such a chaste and holy life, with its implications of modesty, purity, temperance, decency, and clean-mindedness, involves no less than the exercise of moderation in all that pertains to dress, language, amusements, and all artistic and literary avocations.”

It was this second quote that got me to re-examine those arts to which I subjected myself, as he particularly mentions “all artistic and literary avocations“. Now, don’t get me wrong. I do not believe that he is telling us to avoid movies, or anything like that, but just to be more selective, recognizing the influence that they can have upon us. I love a good fantasy novel, or a fine science fiction movie. In fact, I even enjoy a fun shoot-em-up action adventure movie, too. (Shocking, I know, but true.)

The key word in that second quote is, to me, “moderation“.

The question now is, “How does this effect my movie-going?” Easy. It makes me examine each movie after I see it, explore the motives and morals within it, and see how it effects me as a person. Now, I believe that I get far more out of every movie I watch, and every book I read, than I did before.

This also gets passed on to those I work with.

For years now, whenever I take a group of youth to a movie, I willingly take them to see whatever movie they want, on condition that we can talk about it afterwards. A two-hour movie? I want at least thirty minutes of conversation. And during that time we explore the story and motives of the characters, framing the whole thing in the context of virtuous development, and the Baha’i teachings.

Conclusions? Well, I have to admit that I used to love horror movies, but now have absolutely no desire to see them any more. I have not found anything worth the time invested in seeing them. Although I don’t criticize anyone for watching them, they are just not for me. My time can be better spent elsewhere.

I have also come to love some of the action movies even more. Why? Because it gives a lot more room for discussion of motives, and allows a great deal of exploration in how we would react to similar circumstances. Now I don’t expect to ever find myself hiding in a building that is being taken over by terrorists intent on robbing a bank, or having to jump on a moving train to try and save someone from being blown to bits by a bomb, but I have found myself reacting instantly to seeing people getting beaten to death by gang members on the street. This little exercise of asking myself what I would do in such a situation allowed me the ability to draw the attackers away long enough for the victim to survive (without getting killed myself).

Some of the most enjoyable movies I have seen are ones that I was “dragged” to by a group of teens who thought I would never want to see them. They figured that those movies just weren’t my type, whatever my type may be. But I enjoyed them, and we had a very fruitful discussion afterwards.

The teens also told me later that these discussions have changed the way they watch movies, television, and on and on. They are far more selective, and always ecplore it afterwards, no longer content to view them as mere entertainment.

Going back to the first quote, in which Baha’u’llah tells us the purpose of the arts, I began asking myself if a particular work was conducive to my well-being and tranquility. I didn’t expect to only enjoy works that put me in a drug stupor, but looked at that in a broader context. Did they lead me to tranquility? Did they improve my well-being? If not, why was I subjecting myself to it?

By looking at the overall purpose of the arts, I found myself in a better position to decide whether or not I wanted to take the time to view a particular work. Now that said nothing of the merit of the work itself, just whether or not I wanted to take the time to find out.

The second quote, about absolute chastity being related to artistic endeavours, made me further examine what I watched, read or listened to.

These two quotes also helped me better refine how I wanted to spend my time on my own artwork, but that’s probably better suited for another article.

Instead, I’d like to just take a moment to look at an example, Lord of the Rings. While I could go into the artistic merits of the film, or how they used so many different artisans to create the world, I, instead, want to look at one part of the story. Or actually, one part not of the story: the bad guy.

This is a story that does not focus on the bad guy. It focuses almost completely on the good guys, and their epic struggle. You never really see the bad guy; he’s always just this big eye in the distance.

Too often in artistic works, the artist focuses almost exclusively on the bad guys, or at least spends a considerable time on them. They get into the minds of these people, and really, do you want to get in there?

But Tolkien focuses on the good guys. He gets into their headspace, and brings us with him. You feel their fears, their concerns, and their courage. And that is a space I want to get into. Don’t you?

So next time you read a book, or watch a movie, look at these two quotes again and see how they apply. It’s a wonderful experiment that I will explore more and more in the future.

Synecdoche, New York — Idle Fancies, Vain Imaginings, and Longing

Film:

Synecdoche, New York, 2008

Staring Philip Seymour Hoffman, Catherine Keener, Samantha Morton, Michelle Williams, Emily Watson, Dianne Wiest, and Jennifer Jason Leigh.

Synopsis (from NetFlix):

After his painter wife (Catherine Keener) leaves him and takes their daughter to Berlin, theater director Caden Cotard (Philip Seymour Hoffman) stages an autobiographical play in a massive New York City warehouse amid a life-size replica of Manhattan. Meanwhile, Caden must contend with the many women in his life — including a box-office worker, an actress and a shrink — in this beguiling directorial debut from screenwriter Charlie Kaufman.

My Thoughts:

This movie has been in the recommended queue for over a year and I am finally getting to it.  I apologize for the delay, it’s been a crazy year, and I know it’s the type of film that requires due process.  It’s the type of film that makes you think, and makes you feel.  But not comfortable feelings.  Incredibly frustratingly uncomfortable, painful feelings.  I like films like this, that force you to wrestle with this side of life but I do not enjoy films like this.  Let me elucidate that paradox a little.

Film is a medium, and as such it is not always used for entertainment and pleasure, even if that is the predominant trend.  Film can be used as a tool for communication, for meditation, or exploration.  I love it when movies use all the power film has to offer as an art form by working the visuals, and pushing the boundaries to actually show you something rather than tell you.  This movie does that.  However what it shows is frankly unpleasant.  It does it really well, but it’s painful. It helps you to experience the pain and suffering of the main character by getting so lost in him, and his meta existence so as to trick you into feeling that (if you are highly empathetic like myself).  If you like films like Lost in Translation or Magnolia then you will like this movie, but it’s even more extreme.   Ok, with that lengthy introduction let me actually get to the content of the film.

The film begins like a typical independent film starring Philip Seymour Hoffman.  He’s made a lot of them and if you’ve seen even one you have a feel for it.  As it opens, it’s gritty and has that look to it.  I think Kaufman wants to trick the audience into complacency because as it goes on characters start breaking unwritten rules.  They do not react how you expect them to, they do not react in the way society dictates is normal.

What is clear from the beginning is that Caden Cotard is lonely, unhappy, and ill, and throughout the film this state increases. Nobody can help him, even when he asks for it.  His family abandons him.  His doctors shuffle him around not solving the problem.  His therapist just tries to sell him books.

What oppression is more grievous than that a soul seeking the truth, and wishing to attain unto the knowledge of God, should know not where to go for it and from whom to seek it?  – Bahá’u’lláh

Cotard has no clue, and so he pours himself into his art.  Art can be a wonderful thing.  It can uplift the soul.  It can increase knowledge.  But what Cotard does is essentially use his art for his ego.  He wins this prestigious MacArthur genius grant right when his life is falling apart and thinks it can redeem him.  Instead his play becomes him playing God and recreating his life over and over again, getting deeper and deeper into himself and his neuroses and it doesn’t work.  He finds no solace.  He finds no audience.  He finds no answers.

Cast away, O people, the things ye have composed with the pen of your idle fancies and vain imaginings … Idle fancies have debarred men from the Horizon of Certitude, and vain imaginings withheld them from the Choice Sealed Wine. – Bahá’u’lláh

Instead decades go by, he ages as he suffers and as his relationships disintegrate more and more due to his inability to view the world outside of himself and outside of his pain.  He becomes completely self centered.  There is a glimmer of hope near the end when he and Hazel finally work out there issues, and she states what may seem like a throw away line, but I think reaches at the heart of the matter about how it was the first time she’d seen him think about someone other than himself.

And finally the true ending when he is too tired of all his directing and decides to play another role, to step into another person’s life.  It is here that he can see that another has pain, another disappointment, and he can finally find comfort in feeling for another, rather than himself.

Millicent Weems: What was once before you – an exciting, mysterious future – is now behind you. Lived; understood; disappointing. You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone’s experience. Every single one. The specifics hardly matter. Everyone’s everyone. So you are Adele, Hazel, Claire, Olive. You are Ellen. All her meager sadnesses are yours; all her loneliness; the gray, straw-like hair; her red raw hands. It’s yours. It is time for you to understand this.
– From the film

And I think this is why I had such a problem with the film, why it did not sit well with me, and that’s because this is a half truth.  It reaches the culmination of understanding that we are all connected, that we are all unified and we need to get over the ego of self, but it only focuses on the negative, on the disintegration.  This is everyone’s experience, but not everyone’s complete experience and because of this it is bleak.

Where is joy? Where is beauty? Where is love? Where is God?  The word was only first mentioned an hour into the film in passing, and then indirectly and derogatorily by Hazel “We send the kids to Christian school.  It’s Derek’s idea, I don’t believe in that stuff”, and then in the end at a funeral when a priest preaches pretty much the exact opposite message that a cleric would.  This is a world without God, without religion (in the true sense of the word), and it shows.  It shows in all the social dysfunction and ill portrayed in the film.  People are amoral.  They abandon each other.  They use one another.  They cause each other suffering. If this is everyone’s experience than what are we all doing wrong for it to be this horrid?

Some people argue that this is the world as it is, and on some level they are right.  People have abandoned the teachings of the great faiths, have stopped fearing God, stopped loving God, and stopped following God and in doing so have created even more pain and suffering.  They have corrupted many forms of religion and turned them into self-serving political machines, or an isolationist club, in the image of themselves instead of God’s so that even labeling oneself religious does not necessarily free you from this Kaufmanesque view of the world.

Instead if we distill the message from the major faiths it is this: Love.  Put others before yourself.  Humble yourself.  Be compassionate.  Show this love through deeds.  Love everyone, even the people you don’t like, nay, especially the people you don’t like because it’s not about you, and it’s not about your opinion. They probably need the love even more so.

We can hardly blame Cotard because he was not shown love so he could not really learn how to love.  He is constantly looking for someone to follow, but has no adequate model.  However, this is why we have the examples of Buddha, of Jesus, of Baha’u’llah and Abdu’l Baha.  They show us what true selfless love can be so we can follow there model, so that the world won’t devolve into Synecdoche, New York.

synecdoche |siˈnekdəkē|
noun
a figure of speech in which a part is made to represent the whole or vice versa, as in Cleveland won by six runs (meaning “Cleveland’s baseball team”).

-from the Apple dictionary.

In this case of this film Caden Cotard represented the whole.  Let’s change that.  Let’s make it one of these great teachers, who shows us how to love, and how to suffer with grace instead of despair.