Philadelphia Asian American Film Festival

Middle East

Static Noises and Silent Voices: “Chronicle of a Disappearance” 28 Years Later

Photo Credit: Chronicle of a Disappearance Recent solidarity protests on university campuses and increased calls for recognition of a Palestinian state may be shining an unprecedented spotlight on the ongoing genocide in Gaza, but the dispossession of Palestinians by Israel is not a new story. This makes Elia Suleiman’s first feature, “Chronicle of a Disappearance,” still fresh and relevant, even as it marks the 28th anniversary of its premiere.  Soldiers, gunfires, bombs, and limbs. The crying women and children. Starvation and poverty. All these images do not exist in Suleiman’s debut. The only aspect of “Chronicle of a Disappearance” that resembles belligerence is its metaphorical impact, as it was a bombshell on the 1996 film festival circuit. With no clear storyline or plot, the film presents a fragmented personal diary from the perspective of a man named E.S., played by the director himself. The film starts with E.S. return to the West Bank and Israel after the assassination of Yitzhak Rabin and the election of Benjamin Netanyahu.  Suleiman’s work embodies Felliniesque absurdity and humor, along with the spirit of post-war neorealism. However, it goes further by creating spaces between sounds and images that allow for audience interpretation. Those determined to “understand” Suleiman’s work often end up frustrated, as he does not attempt to authoritatively explain or clarify any plot points. According to Suleiman himself, the film is meant to be an exploration of “what it means to be Palestinian.” Those who view identity as a fixed and concrete concept will find themselves challenged by Suleiman’s creative decisions, ultimately losing themselves in the statelessness of Palestine. Photo Credit: Chronicle of a Disappearance In the first half of the film, the audience follows the perspective of E.S., experiencing the peaceful and simple life of the small town of Nazareth through his chronicled entries. In this quiet town, there seem to be no signs of war; the only clues to political turmoil come from television and radio news. Suleiman uses many static shots and long takes to create this illusion of tranquility. The souvenir shop “The Holyland” comically illustrates the religious and commercialized nature of Israel: tourists’ impressions of Israel are rooted in ancient religious stories, seeing not the living people of today, but rather cultural icons — camels, holy water, and scenic postcards. In this context, “Chronicle of a Disappearance” also seeks to challenge this flat and oriental perspective. Suleiman focuses on the complex racial and cultural dynamics of Jerusalem in the latter half of the film. One of the most humorous scenes features an Arab actress, Adan (Ula Tabari), using a walkie-talkie to command and direct the police. This scene starkly contrasts with an earlier one where she is mansplained by an older estate agent, telling her she must wait until marriage to live alone so her honor is protected. It also contrasts with her repeated failures to rent an apartment due to her Arab identity. Both the walkie-talkie and the telephone are tools for communication, yet they yield different results based on the assumptions made about the speaker’s identity. As an unmarried Arab woman, she faces constant obstacles; as a member of the Israeli police, everyone obeys her commands. Is communication ever truly possible, regardless of the tool or medium used? When E.S. stands in front of the microphone to speak about his new film, the microphone magically breaks. We only hear static noises. Photo Credit: Chronicle of a Disappearance Serving as the first piece of Suleiman’s Palestinian Trilogy, “Chronicle of a Disappearance” is a commentary on existence, communication, and identity that still resonates deeply in today’s tumultuous political landscape. It’s even more special if one considers nowadays American audiences’ preferences: straightforward, clear narrative, and character-driven stories. Suleiman’s minimalism is a generous gesture to pass the power of discourse back to the viewers, and the Palestinians. Suleiman never needs a microphone. Chronicle of a Disappearance is part of PAAFF’s 2024 Film Club watch-list. Sign up for Film Club here. If you were moved by this writing, consider donating to the Palestine Children’s Relief Fund or Medical Aid for Palestinians.

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Photo of Muslim Youth Voices participants

CAAM’S MUSLIM YOUTH VOICES FILMS COMING TO PHILADELPHIA

We’re excited to be sharing this news with the Center for Asian American Media!   This just in! CAAM’s Muslim Youth Voices Project is coming to the Philadelphia Asian American Film Festival with the World Premiere of the films created by Muslim American youth in Philadelphia from summer 2015. The premiere takes place Saturday, November 14, 2015 at 11:30am. The short films, written and directed by Muslim youth in Philly, will be presented with youth filmmakers in attendance. The screening will be followed by a discussion with award-winning filmmaker Musa Syeed, lead instructor of the MYVP, and other panelists about Muslim Americans and the media. The panel will be moderated by Kar Yin Tham, an independent filmmaker based in San Francisco and Kuala Lumpur and former Associate Director at the Center for Asian American Media, who coordinated the summer workshops.

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Farah Goes Bang

Freedom’s just another word for ONE thing left to lose. Farah Goes Bang, which won Best Narrative Feature last year, will be screening this month as part of a great partnership with Theatre N in Wilmington, Delaware. The film is the story of a Persian American woman in her twenties who tries to lose her virginity during a cross-country road-trip, campaigning for John Kerry. It’s an interesting revisionist perspective on American life taking place just one decade ago during the 2004 election. The coming-of-age comedy confronts stereotypes of gender, and what it means to be a woman of Middle Eastern descent in post-9/11 America. WHEN: Friday, May 8th – Sunday, May 10th WHERE: Theater N COST: $9 WEBSITE: http://theatren.net

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Tour de Film Event: Bicycle-centric Films & Photography

Join SPOKE magazine and cineSPEAK for an evening of Bicycle-centric Film, Photography, and Community Engagement TICKETS: Friday, April 10 **ADVANCE: $8 **AT DOOR: Youth 18 and Under: FREE* Students: $8 w/Photo ID General Adult: $10 CASH BAR (suggested donation)::: 21+ for beer/wine; Boylan’s craft soda and seltzer also available *Youth 18 and Under: receive a complimentary Boylan’s craft soda or seltzer cineSPEAK and SPOKE Magazine are partnering to present an evening of foreign language film programming. We will be screening two unique stories, “Wadjda” and “Jitensha,” from around the world, both centered on bicycles. “Jitensha” was directed by PAAFF’14 alumni Dean Yamada. Prior to the viewing there will be beer, music, and photography because we know how you bright young things like to party. Please join us at The Glass Factory (1517 N. Bailey St, 19121) in Brewerytown on Friday April 10 at 6:30pm for this great event! Click here for more info. SCHEDULE OF EVENTS:6:30-8pm: Pop-Up Gallery + Community Gathering of Bicycling Advocacy Organizations and Small Businesses8-10pm: Film Screening: “Jitensha” (21 min) + “Wadjda” (98 min)*films shown on DVD and Blu-ray ABOUT THE FILMS:WadjdaSaudi Arabia. 2013. Director: Haifaa al Mansour**This film is the first female directed full-length feature film to come out of Saudi Arabia. It was nominated for Best Foreign Film at the 2014 BAFTA Awards and was Saudi Arabia’s official submission for the 2014 Academy Awards Best Foreign Film category.SYNOPSIS: Wadjda is a 10-year-old girl living in a suburb of Riyadh, the capital of Saudi Arabia. Although she lives in a conservative world, Wadjda is fun-loving, entrepreneurial and always pushing the boundaries of what she can get away with. After a fight with her friend Abdullah, a neighborhood boy she shouldn’t be playing with, Wadjda sees a beautiful green bicycle for sale. She wants the bicycle desperately so that she can beat Abdullah in a race. But Wadjda’s mother won’t allow it, fearing repercussions from a society that sees bicycles as dangerous to a girl’s virtue. So Wadjda decides to try and raise the money herself. WATCH THE TRAILER Jitensha (The Bicycle) Japan. 2009. Director: Dean YamadaSYNOPSIS: Jitensha is a story about a young man struggling to find meaning in life. Alone and without work, the young man’s bicycle begins to disappear, piece by piece. He receives a letter from the thief that sends him on a journey to resurrect and reassemble his beloved possession. WATCH THE TRAILER   ABOUT THE ARTIST*: Raphael Xavier is a Philadelphia-based multifaceted artist whose work ranges from breakdancing to music producing. We will be showcasing his documentary short film, “No Bicycle Parking”. Photographed over a 15 year period, Xavier collected hundreds of abandoned and stripped bikes to create a silent tableau of loss and mourning from cities around the world. His project was featured in Bike Magazine 2003, the Sweeney Art Gallery’s Re-Cycle-Bike Culture exhibit in 2010, The Painted Bride Art Center in 2013 and several major online publications. *The artist will be in attendance and will be selling copies of his book. 

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RSVP HERE

The Philadelphia Asian American Film Festival (PAAFF) Preview Party is a free public event that will provide a sneak peek of what to expect at our upcoming annual film festival, scheduled for November 7th - 17th. We will unveil this year’s theme, the festival trailer, and trailers of the feature films. Guests will get an overview of the programming, including non-film events such as panels, performances, and parties as well as VIP guests attending the festival.

We have added a new element to our preview party this year. We will host a mini-marketplace to support and provide a platform for our local AAPI makers and businesses. We will also feature a local indie band, Moonroof.

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