I caught this film at Tribeca earlier this year and, coincidentally, there was an art gallery in Provincetown showing original works by “Tom of Finland.” The movie is opening on Friday in New York and I really hope it will make its way to the Cape, because it was a really interesting perspective. I really never knew much about Finland’s position during World War II, and although the story is about an artist whose depictions of homoeroticism have made him a household name in Finland as well as in the gay community around the world, the impact of the war that is shown this film is really quite fascinating. Anyway, here is a story I wrote about it in Provincetown Magazine this past spring.
I am so excited to bring to Cape Cod another edition of the Cape Cod Festival of Arab & Middle Eastern Cinema. For a couple of years now I have wanted to add comedies to the program, but I was never able to get the ones I wanted until this year. Opening night at the Chatham Orpheum Theater (Thursday, May 4, 6 p.m.),, after a wonderful reception with Middle Eastern food and cash bar, I am proud to present to you the feature comedy from Lebanon, Halal Love (and Sex) by Assad Fouladkar.
Halal Love (and Sex) was chosen because it is funny, at times dramatic, well acted, and overall a wonderful film, but also because this is a comedy I feel you will relate to, even as different as our countries are. In the film, we meet three romantic couples at different stages in their relationships. Living in a Muslim country, and being Muslims themselves, the rules and codes of their religion and culture restrict how they can behave, but there are also certain “loopholes” that give the characters some hope that they can resolve their romantic issues. This is something I think people who follow other religious traditions will relate to, but also, all of us can find ourselves in the situation of being stuck between what our hearts desire and what our communities will allow.
Humor is an essential human coping mechanism, but from the images we see of Lebanon, the Middle East, and the Arab world, one would think there is no sense of humor in these places. We only hear about terrorism, refugees, anti-Americanism, and religious extremism. So, although this film is a comedy, I believe it is still a vitally important film to screen this year, and I hope you will join be there tomorrow night.
To read more about Halal Love (and Sex) and its director’s thoughts about making the film, check out this story in Variety from when the film was screened at Sundance last year.
In addition to the reception and screening of Halal Love (and Sex), we will be showing E.A.S., a short film by Kays Al-Atrakchi, an Iraqi-Italian filmmaker living and working in the United States. The film takes place in the U.S. in the near future, at a time when Arab-Americans must hold special ID cards. It was a film Al-Atrakchi made before President Trump was in office. In his director’s statement, Al-Atrakchi says, “When I came up with the original idea that ended up becoming E.A.S., I imagined a fictional America where Arab immigrants were viewed as hostile and national ID databases and interment camps were quickly becoming the law of the land. I could never have imagined that my fictional vision of an increasingly paranoid America would be so close to becoming reality.”
We are hoping to discuss this short film with Al-Atrakchi via Skype right after it screens, so please join us for this.
Opening Night is Thursday, May 4, with a reception at 6 p.m. and the screenings starting at roughly 7 p.m. Tickets ($25 including the reception) are still available online or at the box office at the Chatham Orpheum Theater, 637 Main St., Chatham.
Impressionistic, poetic cinema is rarely set in the gritty reality of life in America’s poverty-stricken neighborhoods. But the new film Moonlight, writer/director Barry Jenkins perfectly captures the loneliness of being in a very different kind of closet than the one we’re used to seeing gay characters step triumphantly out of. Here, the rosy optimism of suburbia’s relative affluence doesn’t exist —not even as a reference point. Here, we look at poverty (always intertwined with race in America), and homophobia within the lives of characters who are rough around the edges but not caricatures or stereotypes.
In Moonlight, we meet Chiron, a young black boy who is teased and bullied by other boys in his Miami ghetto circa mid-1980s amidst America’s War on Drugs and crack epidemic. School-aged Chiron (Alex R. Hibbert), nicknamed “Little” by the others, is quiet, intelligent, and sensitive—all things seen as weird, unnatural, and undesirable, even by his crack-addicted mother (Naomie Harris), who loves him fiercely, but cannot express it. He is taken in by the local drug dealer and his girlfriend who give him a refuge when things get to rough. He also has one friend, Kevin, a boy who is also sensitive and intelligent, but not quiet or introverted, and certainly better equipped to fit in with the crowd, for better or worse. These are the people who care about Little.
In part two of this three-part film, we meet Little again, only now he is in high school and people call him by his real name Chiron (Ashton Sanders). Many of his problems remain, and his burgeoning homosexuality becomes more apparent, but the socio-economincs of his life and the fear and weakness of those around him lead him into the system that so many young black men end up in. When he comes our on the other end, we are in part three and his new persona is “Black” (Trevante Rhodes), himself a drug dealer who even looks similar to the one who took him in in his youth. We are full circle.
Moonlight belongs to a new category of cinema that includes films such as Beasts of the Southern Wild, and Below Dreams (which I wrote about in my coverage of the 2014 Tribeca Film Festvail here). I don’t know what to call this yet, but it is a category that is defined by its otherness. The characters in these films are not archetypes representing some subsection of American society, nor are they simple victims of circumstance. The filmmaking style is loose, instinctual, and economical. The films take place outside of the usual settings for American movies, like New York, L.A., or some unnamed, generic suburb. These are places cameras don’t often go, where stories go untold. The filmmakers themselves are concerned with poverty as well as with glimpses of beauty that can occur, even in an impoverished life.
As someone with little obviously in common with Chiron (I am a straight, white woman living on Cape Cod), it is remarkable how strongly connected to him I felt, a marking of the director’s skills in building empathy. Moonlight takes this intense experience and shares it with us in a unique form with expressive acting, sound design, and cinematography, as well as an editing strategy that is directed by the emotions of the main character. I haven’t seen this before, and that in and of itself separates it from most of what comes out in theaters today. So many movies, however different their basic plots, are so similar in approach and formal language that I can barely remember them a week later. Not so with Moonlight, which is a beautiful, tragic film that stays with you. In fact, I look forward to seeing it again to relive that experience of cinematic discovery.
There is a deep sadness throughout all three parts, and the dominant feeling is one of loneliness and isolation, which speaks to the real-life invisibility of gay, black men. We have seen them here and there (notably in the character of Omar in the brilliant cable series The Wire some years back), but it is a largely ignored subset of both the African-American experience and that of the LGBTQ community.
I hope Moonlight will not be pigeonholed into the usual distribution patterns where films with black characters only show in areas with larger black populations and films with gay characters are only aimed at gay audiences. I hope to see it for my second viewing right here on Cape Cod… at a theater near you.
This year’s Provincetown International Film Festival gave us another great lineup of events and screenings, showing that 18 years in, they still know how to do a festival right. The concept of “filmmaking on the edge” has always been the major identifying factor in this festival, which, while it takes place in a mecca for LGBT residents and tourists, has never been a narrowly defined festival.
The concept of “the edge” is a fluid one, and it can mean many different things, a fact that was not lost on this year’s Filmmaker on the Edge awardee Ang Lee. The Chinese-American director of such brilliant films as Brokeback Mountain, The Ice Storm, and Crouching Tiger, Hidden Dragon said in his acceptance speech at an event in Provincetown Town Hall on Saturday evening, “I don’t know what the edge is and I don’t want to know. I like the mystery… I want to keep lying to you in the dark.”
Lee also spoke about the inspiration to become a filmmaker coming from the response he had to Ingmar Bergman’s The Virgin Spring, a film he confesses he did not understand, but which for some reason stayed with him. “I saw the world differently.”
Asked by a young man in the audience what advice he’d give to aspiring filmmakers, Lee was frank in saying, “Don’t do it.” He explained it is such a difficult path to take that no one should go into it lightly. “I’m very fortunate to do what my heart tells me to do,” he said. “You have to really like it to do it, and if you do you don’t need my encouragement.”
The Festival also gave out an Excellence in Acting Award to Cynthia Nixon, who is perhaps best know for her role as Miranda in Sex in the City, but also has numerous award-winning credits in television, movies, and theater. In fact, she’s been performing professionally since she was 9 years old. Nixon, who is married to a woman, said she’d been working on the television movie Killing Reagan, which premieres this fall, and that this was her first time in Provincetown. “I’d just come from a month of playing Nancy Reagan… It’s nice to wake up from 1981 and see where we all are. It’s good to be here.”
When asked how her work for gay marriage in New York and in support of public education connected with her acting work, Nixon was clear, saying “When you make art with a political agenda, it often sullies in in a way… I like to keep my politics and my art separate.”
On Sunday, after the Closing Night film Strike a Pose, the festival film awards were announced. Of special note was the HBO Audience Award winner for Narrative Feature: The Innocents, a beautiful, heartbreaking film about nuns in a convent in Poland in 1945 who seek the help of a young French woman training to be a doctor with the French Red Cross when several of them find themselves in the late stages of pregnancy. Beautifully photographed and so well acted, it is no surprise this was chosen as the best narrative film of the festival.
In addition, the following awards were also given: