Creative grounds for the team working to produce SCORCHED by Wajdi Mouawad, directed by Soheil Parsa, at the MIWSFPA of Brock University in the autumn of 2024. Designed by David Vivian.
[This] powerful Israel-Palestine documentary is essential viewing....A Palestinian-Israeli collective have documented violence and displacement in a damning new film that offers a stark insider’s look at the conflict.
When two young American Jews raised to unconditionally love Israel witness the brutal way Israel treats Palestinians, their lives take sharp left turns.
They join a movement of young American Jews battling the old guard to redefine Judaism’s relationship with Israel, revealing a deepening generational divide over modern Jewish identity.
Directed by two first-time Jewish filmmakers who share a similar story to the film’s protagonists, ISRAELISM is produced by Peabody-winner & 6-time Emmy-nominee Daniel J. Chalfen (Loudmouth, Boycott) along with activist and filmmaker Nadia Saah (Mo, Omar, 5 Broken Cameras), executive produced by two-time Emmy-winner Brian A. Kates (Marvelous Ms. Maisel, Succession, The Plot Against America) and edited by Emmy-winner Tony Hale (The Story of Plastic).
ISRAELISM uniquely explores how Jewish attitudes towards Israel are changing dramatically, with massive consequences for the region and for Judaism itself.
BUT.......As the film faces opposition from groups trying to cancel its screenings, its main protagonist, Simone Zimmerman, and its co-director and producer, Erin Axelman, spoke to Al Jazeera.
.... Lebanese intellectuals’ defense of expat director warns of state chokehold on freedom of expression. published 7 June, 2024 • Elie Chalala
an excerpt:
Mouawad elaborated on his position in a recent television interview on LBCI Lebanon with Albert Kostanian: “If there is a place where I want to choose my side, it’s not between Palestinians or Israelis, between Lebanese Shiites or Lebanese Sunnis; it’s not between identities.” He quotes Sophocles’ Antigone, which he says forms the basis of his approach: “I was born to share in love, not to hate…If I want to choose my camp radically, it’s between these two words.” Mouawad’s choice is “love.”
The ongoing Palestinian-Israeli conflict, which he refers to as a “fratricidal war,” has alternated “assassins.” At the moment, the Israeli government is a government of assassins, just as Hamas’ doing on October 7 was an assassin’s attack, he says. Mouawad recognizes that many Lebanese would disagree with his position but firmly stands by “nuance”: “The moment you try to be nuanced, they will come upon you. The nuance is complicated to maintain, and even if it hurts very much, it is in the nuance that you must position yourself.” Mouawad believes in a humanist solution, stating there is no justice born out of the destruction of one nation or the elimination of a people.
avec Mon pays de Gilles Vigneault elle y a (Sopot Pologne 1965) remporté le gand prix d'interpretation avant d'aller à Ostende en Belgique pour y reporter également un grand prix.
Mouawad’s stories—and the tactics he employs to stage them—have always challenged his audiences to look closely at how the personal and the political intersect, though this does not always work out exactly as intended. His is an uncompromising vision, and in the past, the tensions between the moral dilemmas he brings to the stage and the possibilities that society is willing to accept have gotten him into trouble—Mouawad’s shows have faced political debate, censure, and cancellation. It may be one reason why, eight years ago, Wajdi Mouawad decided to leave Canada behind.
"The name of Samuel Beckett may not, at first, strike you as an obvious answer — unless, of course, you know the origin of the phrase "Fail better." It appears five times in Beckett's 1983 story "Worstward Ho," the first of which goes like this:
Produced by Ari Folman, Serge Lalou, Gerhard Meixner, Yael Nahlieli, Roman Paul, Richard O’Connell
Edited byNili Feller, Music by Max Richter
Distributed bySony Pictures Classics
Release dates: 13 May 2008 (Cannes) and 5 June 2008 (Israel)
Running time90 minutes[1]
Waltz with Bashir (Hebrew: ואלס עם באשיר, translit. Vals Im Bashir) is a 2008 Israeli adult animated war docudrama film written, produced, and directed by Ari Folman. It depicts Folman's search for lost memories of his experience as a soldier during the 1982 Lebanon War and the Sabra and Shatila massacre.
a selection of trailers: the official Sony release, the german release, and a theatrical release - interesting for their differences. There are others.
...an excerpt. Be aware that this film tells the story of violence and inhumanity, and viewing the images may cause harm.
CONTENT WARNING:talk of violence, sexual assault, blood, war, and generally severe topics. There may also be a joke or two.
Vocab check:
AFAB -- person or persons assigned female at birth
AMAB -- person or persons assigned male at birth
Patriarchy -- a system of society or government in which men hold power and women are largely excluded from it.
A non-professional (sort of) essay by Oliver Webb Wilkinson.
You know those Tampax commercials that show women doing extreme sports? You see artfully cut shots of legging-clad women sprinting in slo-mo, hair hiked into a tight high ponytail while making vague remarks about feeling powerful and 'ready to play.' Ads like these make periods seem like a walk (or I guess run?) in the park. They conveniently seem to forget the realities of menstruation: bloody discharge, cramps that range from uncomfortable to excruciating, mood swings, and a general feeling of blegh. And let’s not forget the recent studies that reveal most tampons and pads contain carcinogenic chemicals that leech into the body upon use. Womanhood sounds fun, right?
Of course, gender is not defined by what sex you are assigned at birth or the status of your reproductive organs (take it from me). However, seeing as SCORCHED (Incendies) focuses on the experiences of cisgender women, we’ll be focusing on the experiences of femininity as they apply to those assigned female at birth and how, in this play, they involve a lot of bloodshed.
In season two of the popular BBC series Fleabag, viewers are treated to the following (impeccable) monologue:
“Women are born with pain built-in, it’s our physical destiny: period pains, sore boobs, childbirth, you know. We carry it within ourselves throughout our lives; men don’t. They have to seek it out. They invent all these gods and demons and things just so they can feel guilty about things, which is something we do very well on our own. And then they create wars so they can feel things and touch each other and when there aren’t any wars, they can play rugby. We have it all going on in here, inside.”
– Phoebe Waller-Bridge, Fleabag: The Scriptures
Courtesy of BBC Three via Youtube
Phoebe Waller-Bridge exposes a core difference between AFABs and AMABs here: menstruating people are born to face inevitable pain caused by their own bodies for the rest of their lives. In SCORCHED, the first scene that introduces Nawal (scene 5) establishes the imminent birthing of her son, followed by scenes 6, 7 and 8. Nawal’s existence is already plagued by feminine violence. She endures the trauma of childbirth, all of the emotions it entails, and the pain of her child being taken away against her will within the first 5 minutes of her stage time. I find Jihane’s insistence on Nawal forgetting the baby interesting. Why does Jihane find Nawal and Wahab’s child so shameful? The script and setting imply the classic scandal of intercourse and birth out of wedlock, both acts which are perpetuated by the patriarchy as shameful behaviour for women to display. But why would the patriarchy have such a presence in a family of women? There isn’t any mention of Nawal’s father, grandfather, or other male relatives, so why condemn her for her love of Wahab and their child? The answer probably lies in the time, culture, religion, or other factors of the play's setting, but I'll leave that to the actors.
Despite many women (particularly Nawal and Sawda) experiencing great amounts of pain throughout their lives, SCORCHED has no portrayals of women committing violence. Women are not portrayed as inciting conflict in this play, save Sawda killing a militiaman, but only because he had Nawal at gunpoint. Simon pursues boxing as a career; the militia murders civilians in various ways; refugees retaliate against the militia, and, of course, Abou Tarek (militiaman/Nihad) commits numerous atrocities. Granted, Sawda threatens revenge on the troops who massacred innocent civilians before Nawal stops her. Other than these instances, all physical violence portrayed in the play is incited by men. Why? Referencing Phoebe Waller-Bridge, because AMABs aren’t born with pain, they seek it out and thrust it upon others.
What's interesting is that Nawal does assassinate a militia leader, hence why she is incarcerated. This act of calculated violence was omitted from the stage directions of the play, but heavily discussed through dialogue. Said dialogue champions not using violence as a response to violence, but to only strike where it is most effective. "We’re going to strike. But we’re going to strike a single spot. Just one ... We won’t touch a single man, woman or child, except for one man. Just one." -- Nawal, page 63. Nawal insists that as women, she and Sawda cannot repeat the cycle of revenge that has put their country into the position it is now in, escalating aggression as revenge for previous aggression.
The women of SCORCHED, particularly Nawal (as she is the show's focal point), are born to bleed in more than just the menstrual sense. Janine dives headfirst into the intense emotional turmoil of grieving her mother, while Simon avoids it until he can’t. Nawal gives birth, gives away her child, buries her beloved grandmother, watches countless people die, is repeatedly assaulted and raped in prison, then bears and raises the children of her assailant. A switch flips, however, when Simon reads Nawal’s journal. This is another challenge for the actors, I suppose. That moment of realization, the depth of that discovery, of how much Nawal endured and how little the people in her life knew of it. I wonder if genetic memory or generational trauma affected Janine or Simon’s grieving processes – another concept to think about for the actors, I suppose.
The show ends with Janine and Simon listening to their mother’s stoic silence. Having not yet started rehearsals, this moment could go one of a million ways. However, it is the time for Nawal’s children to let the quiet wash over them, just like the rain that concludes the show. Washing away the dirt and the blood of the past, leaving wounds exposed and ready to heal, the stage directions read, “Torrential rain. The end.”
PS: Remember that all the women in this story also menstruated on top of doing everything else. Tampax could never.
Born 1962 in Seoul; lives and works in London, New York, and Seoul.
“I consider migration to be a process,” says Do Ho Suh “not something that happens overnight. Each step of the process is like crossing another threshold.” Impressions of space, environment, and home are central to Suh’s art, which explores a poetic language for memory through materials and architecture. His fabric sculptures depict rooms, thresholds, and passageways from the artist’s former living spaces constructed with diaphanous polyester, whose translucency evokes the nature of memory. They are painstakingly sewn in one-to-one scale, with doorknobs, molding, and outlets crafted in precise detail. The works shown here represent two spaces from the artist’s childhood home in South Korea: the entry and eating area. He imaginatively links places he has lived, reconfiguring memories of home in the present.
"Internationally renowned artist Do Ho Suh works across various media to produce drawings, films, and sculptural works that explore notions of memory, displacement, individuality, and collectivity. Suh is widely known for his fabric sculptures that reconstruct former residences in Seoul, Rhode Island, Berlin, London, and New York. Suh is interested in how the body relates to and inhabits space, particularly domestic spaces, and how the concept of home can be represented through architecture.
In this film, LACMA curator Meghan Doherty and SCI-Arc faculty member Kavior Moon speak about Suh's 348 West 22nd Street, a recent anonymous gift to the museum. This sculptural work is a full-scale fabric replica of the artist's former ground floor apartment in New York City. Constructed out of polyester and stainless steel and made using traditional Korean sewing techniques and digital modeling tools, 348 West 22nd Street collapses notions of the interior and exterior, private and public, while also memorializing the artist's desire to hold onto memories of home."
Do Ho Suh: Fallen Star - Stuart Collection
Do Ho Suh’s work explores the notions of home, cultural displacement, one’s perception of space and how one builds a memory of it. What is home, after all? A place? An idea? A sentiment? A memory? A small cottage has been picked up, as if by some mysterious force, and “landed” atop Jacobs Hall at UC San Diego, where it sits crookedly on one corner, cantilevered out over the ground seven stories below. A lush roof garden of vines, flowers and vegetables, frequented by birds and bees, is a small gathering place with panoramic views of the campus and beyond. Upon entering the house it becomes apparent that the floor and the house itself are at different angles, causing a sense of dislocation – some would say vertigo. One must adjust both physically and mentally in order to accommodate a whole new view of the world. The surroundings are familiar but the feeling is not. [2/2022] [Show ID: 37823]
In this era of mass migration, and amid ongoing debates about it, When Home Won’t Let You Stay: Migration through Contemporary Art considers how contemporary artists respond to the migration and displacement of people worldwide.
Directed by Anaïs Barbeau-Lavalette on the creation of the film
–
"On the occasion of the 10 e anniversary of the film Incendies , by Denis Villeneuve, inspired by the famous play by Wajdi Mouawad, the documentary Remembering the Ashes – Regards on Incendies
, directed by Anaïs Barbeau-Lavalette, is available for free on the
Vimeo platform. Produced by micro_scope (Élaine Hébert) in
collaboration with Radio-Canada, the documentary was presented on the
public broadcaster in 2010 when the film was released. In an intimate
approach, Anaïs Barbeau-Lavalette, who also handles the camera and sound
recording, was able to shed light behind the scenes of the filming in
Jordan, while the fiction echoes the poignant reality of the artists and
craftsmen of the region.
In the heart of the Middle East, Iraqis, Palestinians and Lebanese took part in the filming of Incendies
. Extras or simple witnesses, refugees in exile, they experienced up
close scenes similar to those staged by Denis Villeneuve. Remembering the Ashes – Regards sur Incendies is interested in their view of the war and the infernal circle of violence, here recreated before them, with them.
Remember that Incendies , released in
Quebec on September 17, 2010, is directed and written by Denis
Villeneuve, based on the play by Wajdi Mouawad and produced by
micro_scope (Luc Déry, Kim McCraw), in co-production with TS Productions
and in association with Phi Group. Starring Mélissa
Désormeaux-Poulin, Maxim Gaudette, Rémy Girard and Lubna Azabal, the
film was a huge success in Quebec and internationally. In addition to
being nominated for the Oscars, Césars and BAFTAs in the Best Foreign Language Film category , it won nine Jutra Awards and eight Genie Awards, as well as the Best Film awards at the Venice Film Festival ( Venice Days section ) and Best Canadian Film at TIFF."
We go to Part 2 of our conversation with Israeli scholar Neve Gordon, professor of international law and human rights at Queen Mary University of London and chair of the Committee on Academic Freedom for British Society of Middle East Studies. Gordon talks about the "massive surveillance apparatus" Israel has imposed on Palestinians in Gaza and the West Bank, the use of artificial intelligence tools to bomb targets despite the high error rate in those systems, and the shock of the October 7 attack by Hamas that killed some 1,200 Israelis. "The state seemed not to be functioning, so most Israelis were in great pain, were in great fear," he says. "My fear is that most Israelis are still trapped, still stuck in that October 7th moment and unwilling to lift their eyes to see basically the genocide unfolding in the Gaza Strip."
Watch Part 1 of this interview, the "Road to Famine: Israeli Law Prof. Neve Gordon on Israel's History of Weaponizing Food Access in Gaza" athttps://www.democracynow.org/2024/4/4...
"The last six months of genocide in Gaza have ushered in a new phase in a long history of colonization and extraction that reaches back to the nineteenth century. To truly understand the present crisis, Andreas Malm argues, requires a longue durée analysis of Palestine's subjugation to fossil empire."
In 1999, when southern Lebanon was still occupied and no images of the KHIAM detention camp existed, the filmmakers met six recently released detainees to talk about their lives during these years of detention. In May 2000, the camp's prisoners were released and the prison transformed into a museum. During the July 2006 war, the KHIAM camp was completely destroyed. Eight years later, the filmmakers found the six detainees filmed in 1999 to discuss with them the liberation, the destruction of the camp, memory, history, reconstitution and the power of the image.
A seminar with activist Soha Bishara and lawyer Laila Awada on “Laws and
Women,” moderated by Ghada Haddad. The symposium is organized by the
Women’s Affairs Office of the Lebanese Communist Party, on the occasion
of March 8 - International Women’s Day.
Souha Bechara, born in Beirut on June 15, 1967, is a Lebanese resistance
activist who, at the age of twenty, was arrested and then detained in
the clandestine prison of Khiam for having attempted to assassinate
General Antoine Lahd of the South Lebanon Army.
The South
Lebanon Army is a Christian militia armed, trained and financed by
Israel and which controlled until May 2000 the “security zone” created
by Israel in southern Lebanon.
On this day 25 years ago, the Lebanese communist resistance fighter Soha
Bechara was released from captivity at the El-Khiam torture and
interrogation center where she had been detained for ten years, six
years of those years were spent in isolation detention.
She was
jailed for an attempt to assassinate Antoine Lahad in 1988, the head of
the South Lebanon Army – an Israeli-backed proxy militia that terrorized
South Lebanon during the Israeli occupation. Bechara is a Lebanese icon
and posters featuring her were seen all around downtown Beirut in the
early 1990s.
Bechara joined the Lebanese Communist Party in 1982
when she was 15 – the year that Israel invaded Lebanon – and was
involved in various resistance activities. Bechara shot Lahad twice with
a 5.45 mm revolver, once in the chest and once in the shoulder.
Bechara
was released from El-Khiam in 1998, following international pressure.
Two years after her release, the Israeli occupation of Lebanon ended and
El-Khiam was turned into a museum.
posted Sep 3, 2023 on YouTube and Sep 3, 2024 on Odysee.com
2001. Elle est entrée dans l'histoire du Liban avec fracas. A 31 ans, Soha Bechara incarne le symbole de la résistance contre l'occupation israélienne. Cette jeune chrétienne, originaire du Liban-Sud, vient d'achever dix années de prison pour avoir tenté d'assassiner Antoine Lahd, un général libanais collaborant avec l'armée israélienne. Dix années passées dans la geôle la plus terrifiante du Liban, Khyam.
In
1988, at the age of 20, Lebanese Soha Béchara attempted to assassinate
the leader of Israel's auxiliary militia in occupied southern Lebanon.
His act cost him 10 years in one of the worst prisons in the world.
Based in Geneva since her release, Soha Béchara returns to Lebanon
accompanied by a team from Temps Present. Has the war radicalized young
people? Will many of them, like her, risk a suicide operation? Icon
of the resistance, the young woman opens the doors to circles close to
Hezbollahz.
In Lebanon, Soha Béchara is considered the very
embodiment of resistance. At the age of 20, this Christian, member of
the Lebanese Communist Party, infiltrated the South Lebanon Army (ALS)
and twice shot its leader, Antoine Lahad. The latter survived, while
Soha Béchara spent ten years in the infamous Khiam prison, where she
suffered isolation and torture. She was released in 1998, two years
before the withdrawal of Israeli troops, and settled in Geneva.
Although
she does not share the theses of Hezbollah, due to her stay in Khiam,
Soha Béchara is entitled to the respect of its leaders and to access to
areas controlled by the “party of God”. With the cameras of Temps
Present, Soha takes us to South Lebanon, where despite the reinforced
presence of UN peacekeepers and the Lebanese army, Hezbollah continues
to lay down the law. In the Shiite villages destroyed by the bombings,
Soha meets women who were imprisoned with her and whose sons are already
ready to take up arms. In the region, everyone considers that peace is
only a truce and that one day the bombs will fall again. No question
for the time being of the disarmament of Hezbollah. Heading for Beirut,
in the more westernized neighborhoods, where strangely we almost come
to support Hezbollah which represents the only resistance force in the
face of the Israeli threat. Finally, a stop at Khiam, the former jail
which had been transformed into a museum, whose buildings - and symbols -
were razed by Israeli raids.
Violence begets violence. The war
to destroy Hezbollah has given rise to new resistance fighters. And
even in a still divided Lebanon, Israel already seems to have lost the
ideological battle.
AIEP PROVIDES RIGHT NOW
The
Independent Complaints Review Authority unanimously rejected the
complaint of a group of viewers against the report “Soha, return to the
country of Hezbollah” broadcast on October 26, 2006 in Temps Present.
Contrary to what the complainants asserted, the AIEP considered that the
public was perfectly capable, from this broadcast, of forming a
personal opinion on the subject covered and on the events which bloodied
the region in 2006.
Temps Present decided to devote a report to
Lebanon immediately after the conflict which opposed the Israeli army
mainly to the Lebanese Shiite movement "Hezbollah" in the summer of
2006. This war had highlighted the political and military importance of
Hezbollah's role in Lebanon. In the opinion of the producers of Temps
Present, there was great interest in making this movement better known
to the Swiss public. Hezbollah is a discreet formation whose approach
is difficult. Temps Present had therefore decided to follow in Lebanon a
well-known figure of resistance to the Israeli occupation, Soha
Bechara, who was to promote contacts with the Shiite movement. Thanks
to S.Bechara, Anne-Frédérique Widmann and Jean-Bernard Menoud were
actually able to meet several members of Hezbollah and describe the
functioning and influence of the “party of God” in southern Lebanon. In
its form, the report is an immersion in a conflict zone shortly after a
war and largely gives a voice to the inhabitants of this region
directly affected by the consequences of the clashes. This is not a
file claiming to address all aspects of the Near Eastern crisis.
Neutral observers such as representatives of the NGO Human Rights Watch
provide an independent point of view on the human rights violations
committed by all belligerents during this war.
The plaintiffs
challenged this approach. For them the report gives too positive an
image of Hezbollah and S. Bechara. He should have included other
speakers or documents that would broaden the subject. Without these
additional elements, the viewer could not form a personal opinion on the
subject.
The AIEP recalled the autonomy of the TSR in its
editorial choices, including the angles chosen to treat the subjects it
addresses in its reports. For the Authority, it is above all a question
of determining whether the viewer could have been manipulated and
knowingly misled by a broadcast. Regarding the complaint against “Soha,
return to the country of Hezbollah”, the members of the AIEP
unanimously concluded that this was not the case for two reasons.
Firstly, the approach developed by Temps Present as part of this report
was very clearly explained to viewers. Second, at the time this program
was broadcast, the public was already well informed on the subject
since all the media had extensively commented on the Lebanese conflict.
According to the AIEP, viewers were therefore able to place this report
in this general context and form an opinion.
Daniel Monnat
Editor-in-chief
from TSR magazines.
credits:
A report by Jean-Bernard Menoud and Anne-Frédérique Widmann
Image: Walther Hug Son: Ottorino Cavadini Montage: Chantal Dall Aglio
With
"Souha, Surviving Hell", Randa Chahal Sabbagh captures a multi-facetted
Souha Bechara, navigating between the weight of her lived experience,
her transformation into an icon of resistance, and the fragility of a
body full of life and laughter. Watch the film for free onwww.aflamuna.online- presented by Cinematheque Beirut
Souha Bechara is a young southern Lebanese girl who, like thousands of other girls, found herself at an early age in the midst of a civil war. In 1988, after a long preparation, Souha attempted to assassinate General Antoine Lahad, leader of the South Lebanse Army, the pro-Istraeli Christian militia. Although badly wounded, he survided, and Souha was imprisoned for ten years in the Khiam prison, the infamous dungeon whoses very existence was denied by the Israelis and their Lebanese collaborators. Locked up in a tiny cell in total isolation and repeatedly tortured, her refusal to collaborate soon became a legend. Thanks to an international campaign, Souha was finally freed in 1998.
The
film follows Soha Bishara's return journey from Khiam prison to her
village of Deir Mimas, the place where she attempted to assassinate
General Lahad. For Soha, Surviving Hell is a fun, contemplative and
liberating travel memoir; A travel memoir that makes one believe for a
moment in the possibility of reconciliation in our country.
With
the film “Soha, Survival from Hell,” Randa Chahal Sabbagh captures Soha
Bashara in multiple facets, as she moves between the burden of the
experience she lived and her transformation into an icon of resistance
and the fragility of her vibrant, laughing body