The ins and outs of human rights films
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By Daniel Nelson
As the annual Human Rights Watch Film Festival returns to London (12-21 March), the events acting director, John Biaggi talks about whats in and whats out when it comes to topics chosen by film-makers. Human rights violations on local populations in the effort to extract oil or mineral wealth is a topic where more films have come in of late, he says. More broadly, environment and human rights films have been on the increase for a couple of years as have films about women and children in conflict zones. In terms of countries in the spotlight, he mentions Liberia and Uganda. (This year they are represented by Iron ladies of Liberia and War/Dance respectively.) The Iraq conflict still produces a lot of films, but they are now more focused on the experiences of individuals, or a group of soldiers. This is also true for Afghanistan (Buddha Collapsed Out of Shame), he says, where in addition to the growing number of personal stories more films are showing other aspects of Afghani life, including politics. Some topics, Biaggi points out, recur every year such as the disappeared in Latin America, particularly Chile and Argentina, and the Israeli/Palestinian conflict (This Way Up, Open Heart and Under the Bombs). The Middle East conflict, he says, continues to produce a large number of films each year sadly, this is the case every year since I began at the festival 12 years ago. What, then, are the gaps the countries and issues that are not well covered by films dealing with rights? China because it is difficult to film there. Films about China (Up the Yangtze) have increased, he admits, but they are often subtle or somewhat oblique in their approach to human rights issues. The most difficult country, he says, is Burma: It is just too dangerous and difficult to film properly, or follow a story over time, inside Burma. Zimbabwe is also difficult and dangerous, though sorely in need of a strong film Turkmenistan, Tajikistan, Kazakhstan, Uzbekistan don't get much coverage. I guess you would say they are not fashionable subjects generally. Overall, however, he points to a tremendous increase in the number of films tackling rights issues. This year almost 1,000 submissions were considered by the selection panel. Feature films and animation are considered for inclusion in the Festival programme. In fact, this years festival opener, Persepolis, is an animation drama adapted from a graphic novel about a nine-year-old Iranian girl. Perhaps it was less than diplomatic for Biaggi to say in his email interview, Documentaries, overall, in my opinion are more powerful. It is rare that a fiction film can deliver a visceral, fully realised, and layered depiction of human rights themes. The aim of the festival is to empower viewers with the knowledge that personal commitment can make a real difference. Does it work? Does the festival have an impact? Biaggi says Yes. He names State of Fear, about Perus war on terror and this years The Greatest Silence: Rape in the Congo. The Peru film has been broadcast in 157 countries and translated into 48 languages. A version in the local Quechuan language is being prepared that will be taken on tour throughout Peru. Human Rights Watch researchers helped screen the Congo film in Goma (attended by representatives of all political parties as well as representatives from other areas of the country). The film will be shown to members of the US Senate, the House of Common and members of the European Parliament This is the kind of approach that makes me feel that human rights filmmaking is a powerful force in bringing to light issues and affecting real change, says Biaggi. * Human Rights Watch Film Festival 2008 * State of Fear * The Festival will run in New York on 13-26 June |