Sheril A. Bustaman interviews Faisal Saeed Al Mutar, an Iraqi-born satirist, human-rights activist and writer who was admitted to the United States as a refugee in 2013.
With 81 years and two other remakes between the two films, how does the narrative of this melodrama hold up with the woke audience of today?
We Are Animals is shot in a visceral and raw style with little narration from Zan himself which allows the visuals and the community within the camp to speak for themselves.
Kept In Ink is the non-fiction tale of Francis Wolf’s journey to Wat Bang Phra, a Buddhist monastery in the Nakhon Chaisi district of Thailand.
The realism in this film is stark and evident. It is blatant and uncomfortable, making the audience shift in their seat at the reality of the situation in this country, yet also watch in sheer fascination at the brave delivery of the film.
The dynamics of the show prioritises development of the relationships between the characters rather than heavily focusing on their nationality or ethnicity.
The public caning took place with 100 people in attendance: A panel of judges, members of the government, the media and NGO representatives and the family.
Some people have even gone as far as to say that everybody should watch the film “Demi Allah” (“For Allah”).
The Breadwinner contributes to the growing representation of females that belong to different nationalities and ethnicities, joining the ranks of Moana and Doc McStuffins.
It is interesting to observe the blurring of lines between culture and religion of the Malay Muslim community in Malaysia, as it seems to only be forgiven in films like Hantu Kak Limah.
‘Lust Stories’ is an anthology consisting of four short films by four acclaimed directors.