Raphael Shore is a Canadian-Israeli film writer and Rabbi, a sort of Neocon version of Michael Moore, but driven by uber-Zionist paranoia rather than a liberal Catholic conscience. Raphael bought the American people the “documentary” Obsession: Radical Islam’s War Against the West, but if that wasn’t silly enough, here comes the latest: Crossing the Line: The Intifada Comes to Campus, a film that “…explores the proliferation of anti-Israel and anti-Semitic incidents on North American college campuses…” by demonstrating “…the blurring of anti-Israel and anti-Semitic lines…” as well as the “…the historical connection between the Muslim Student Association and the Muslim Brotherhood.” See the trailer here. Hardly Yoav Shamir.
Latest Updates: Film RSS
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plimfix
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johnpi
Florida International University screens “Virgin Diaries,” explores the topic of virginity in Islam.
Faitha got her first kiss at 28. But it wasn’t on the lips.
Rather, her fiancé gave it to her on her hand.
Then he broke up with her — out of fear that the kiss diminished Faitha’s purity.
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fathima
Has anyone else seen the BBC film White Girl? Thoughts? You can watch the whole thing on YouTube (approximately 90min).
The official BBC write-up is as follows:
“This provocative and emotive drama from the Bafta Award-winning writer of Sex Traffic tells the story of the clash of cultures that occurs when a white family relocates from Leeds to an otherwise wholly Asian community in Bradford.
Abi Morgan’s compelling film is told from the perspective of 11-year-old Leah, played by newcomer Holly Kenny, whose world is turned upside down when her mum Debbie (Bleak House’s Anna Maxwell Martin) moves the family to Bradford to escape the fallout from her recent relationship break-up.
Leah becomes friends with her neighbour Yasmin and discovers that the culture she was initially intimidated by isn’t so alien after all. She is soon seeking sanctuary in the rituals of Islam, away from the pain and strife at home. But this innocent fascination turns sour for Debbie when her daughter comes home wearing a hijab, and the family’s violent reaction has explosive consequences for everyone.
And then there’s a review at Times Online which is ridiculous.
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plimfix
Quick, be very frightened! Geert Wilders is due to make a second film demonising Muslims. I was so outraged by the first that I nearly fell asleep watching it. Hollywood doesn’t beckon, Geert.
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Fatemeh
Better late than never!
Last week on MMW, we review Randa Abdel-Fattah’s book Ten Things I Hate About Me, look at Daisy Khan & Irshad Manji’s debate on CNN about Geert Wilders’ move Fitna, give the side-eye to Sally Armstrong’s mission for Afghan women, reprimand Sports Illustrated for their coverage of talented basketballer Bilquis Abdul-Qaadir, give the short-n-sweet review of American East, and link and link and link.
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Fatemeh
This week on MMW, we announced AQSAZINE’s launch, highlighted an Arab arts festival in D.C., informed journalists about how they should REALLY write about Muslims, took issue with the Washington Times’ framing of the recent data on Muslim Americans, and examined Amours Voilees’ representations of love and the veil. I also sort of phoned it in on the Friday Links.
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Fatemeh
Eh, I’m a little late this week. But last week’s MMW was chock full of fun: we looked at Syrian lingerie from another angle, pondered the interlocking oppression of Mona Awad, critique the LA Time’s profile of Aliyah Bacchus, review Slumdog Millionaire, discussed the construction of gold diggers in Muslim circles, and give mixed reviews to the coverage of Egyptian women in mosques. And, as always, a gaggle of links.
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willow
Anyone plan to see Religulous?
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Fatemeh
This week on MMW, we look at Muslim women’s sexuality through film, wondered about ethnic/cultural representation in the Guardian’s “This Muslim Life” column, review Sumbul Ali Karamali’s The Muslim Next Door, examine the Manji vs. Mogahed debate, deconstruct cultural and capitalist appropriation of Afghan culture in a New Zealand catwalk, look at Na’ima B. Roberts’ personal journal for the Times Online, review Azadeh Moaveni’s Lipstick Jihad, and crown ourselves queens of the Friday link list.
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Fatemeh
For you bay-area buddies, be sure to check out the Iranian film festival in San Francisco, Sept. 27 & 28.
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Fatemeh
This week on MMW, we get a rousing discussion on why some people just can’t get over headscarves, rip Khalil al-Anani a new one, dissect American Dad’s depiction of Saudi women, watch Shabana Azmi play devil’s advocate, roll our eyes at a movie titled Unveiled that’s about–you guessed it–some sexy and oppressed Muslim woman, and rolled out The Link List.
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willow
I’m afraid I have to disagree with Sepia Mutiny’s review of Brick Lane, the British film based on the bestselling novel of the same name. (Condolences are due over there, by the way–they just lost one of their contributors to bone marrow cancer. Allah yerhamu.)
I saw the film at SiFF, and thought it was very well-done. It could very well be that there’s no insight there for people familiar with Indo-Londonian culture (a term I just made up), but for those who aren’t–like me–it was eye-opening. The three main characters were very delicately drawn. The transition of the young, idealistic love-interest into an extremist (he didn’t seem all that extreme, aside from the beard and the leaflet-printing) was almost beautiful. Portrayals of the average-Mo-into-fundie trope in films by non-Muslims tend to be very formulaic: dude starts out “good” (ie fairly westernized), is persecuted by bumbling westerners or trying circumstances, and turns abruptly and with many stock phrases to Ze Relijon. The portrayal of Karim in Brick Lane is much more nuanced. After he gets militant, you still like and empathize with him–revelatory to anyone who thinks fundamentalism is a simple equation.
The author of the SM review makes great points, however, and I think this is just a matter of taste…she liked the film version of The Namesake, which I could barely stay awake for. Kal Penn didn’t cut it for me. Although I must say I like him in House.
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willow
I love superhero movies, but watching them in today’s political climate is like waiting to get kicked in the gut. Iron Man was no exception. It’s one of the best superhero movies to date, but gets bogged down in the same old tropes when it comes to Islam, the military and the blessed role of a messianic America. Yaman has a very good analysis.
