Their quest for corporate accountability brought the activists to Geneva, where ISHR accompanied them during the negotiations at the United Nations Palais des Nations on the elaboration of an international legally binding treaty that seeks to regulate, in international human rights law, the activities of transnational corporations.
Wednesday 30 November 2022, 1:20pm-2:40pm
Room XVIII, Palais des Nations, Geneva
Languages: movie in original version with English subtitles; discussion in English
THE STORY WON’T DIE is an inspiring, timely look at a young generation of Syrian artists who use their work to protest and process what is currently the world’s largest and longest ongoing displacement of people since World War II. The film is produced by Sundance Award-winning producer Odessa Rae (Navalny). Rapper Abu Hajar, together with other celebrated creative personalities of the Syrian uprising, including post-rock musician Anas Maghrebi, members of the first all female Syrian rock band Bahila Hijazi and Lynn Mayya, breakdancer Bboy Shadow, choreographer Medhat Aldaabal, and visual artists Tammam Azzam, Omar Imam and Diala Brisly, use their art to rise in revolution and endure in exile in this new documentary reflecting on a battle for peace, justice, and freedom of expression. It is an uplifting and humanizing look at what it means to be a refugee in today’s world, and offers inspiring and hopeful vantages on a creative response to the chaos of war.
The Human Rights Foundation organised the New York Premiere of THE STORY WON’T DIE on Friday, June 17 at Cinema Village. The screening was followed by a Q&A with award-winning filmmaker David Henry Gerson and the film’s co-producer Abdalaziz Alhamza.
EngageMedia posted on 28 February 2022 an anthology of films which highlight Myanmar’s long struggle for democracy
This movie playlist is from Cinemata, a platform for social and environmental films about the Asia-Pacific. It is a project of EngageMedia, a nonprofit that promotes digital rights, open and secure technology, and social issue documentary. This is edited and republished as part of a content-sharing agreement with Global Voices.
EngageMedia has curated a playlist of films that shows the extent of rights abuses in the country, as well as courageous forms of resistance against the continuing infringement on people’s rights. Marking the one-year anniversary of the coup, “A Year of Resistance” turns the spotlight on the long-standing struggle of the people of Myanmar for democracy.
This film collection is curated in solidarity with the people of Myanmar. In bringing the stories of unrest and atrocities to light, these films hope to inspire action and advocacy towards justice and freedom.
“Burma Rebel Artist: Moe Thandar Aung”
After the Myanmar military coup in February 2021, Moe Thandar Aung, a graphic designer whose work touched on themes on feminism, began making protest art in support of calls to defend and uphold democracy in the country.
“Black out”
In the aftermath of the 2021 Myanmar coup, the country is faced with state-mandated internet and information blackouts. Hnin, a single mother, and Mon, her daughter and an anti-coup protester, are among those who can no longer access the internet at home. In their pursuit of news on what is happening on the ground, they find only fabricated stories and unreliable information.
During the six months of the junta coup, at least 950 civilians have been violently killed. A total of 90 children under the age of 18 have been murdered, while at least 48 children were arrested.
An independent female humanitarian activist from Shan State describes the trauma she experiences in working in an environment pervaded by despair but also her commitment to helping those forced to flee armed conflict. This film was directed by Sai Naw Kham, Mon Mon Thet Khin, and Soe Yu Maw.
In this video, Myanmar activists talk about the digital rights and digital security challenges they face, arguing that freedom of expression, freedom to organize, and freedom to associate should be kept, protected elements of digital rights.
This song was made by 24 Youth from six different corners from Myanmar that participated in Turning Tables Myanmar’s yearlong social cohesion project “The Voice of the Youth.” Together they produced and recorded the song “Wake Up” which calls for democracy, youth participation, and sustainable development to replace corruption and injustice.
This 2009 film shows powerful footage from the Saffron Revolution, a series of economic and political protests led by students and Buddhist monks that swept Myanmar from August to September 2007. It also highlights the continuing need for international solidarity amongst Southeast Asians in times of political upheavals as in the current situation in Myanmar.
The “Don’t be afraid” film directed by Mikhail Arshynski has won the “Best Documentary on Human Rights” nomination at the Best Film Awards in London.
The film shows the struggle of the Belarusian people for fair elections the fate of people who responded to the call of blogger Syarhei Tsikhanouski and took part in the 2020 presidential campaign. Events are shown through the lenses of Arshynski, who witnessed an unthinkable political confrontation. With a camera in hand, he followed each stage of the campaign. He filmed how the authorities prevented the collection of signatures and their transfer to the election commissions how the headquarters of alternative candidates united. Mikhail traveled with them to the regions of Belarus.
The film won also the top prize at the South Korean “Hinzpeter Awards” film festival.
That things are getting worse is also shown by the report that on 25 January, officers of the Financial Investigation Department of the State Control Committee of Belarus searched the apartment of the director of Mahiliou Human Rights Center, Valery Krauchanka. After the search, the law enforcers took his son’s toy gun and 10-year-old leaflets of the Belarusian Helsinki Committee. On January 26, another search was conducted in Krauchanka’s home, as a result of which a laptop was seized.
The Mahiliou Human Rights Center has been actively engaged in human rights activities in the Mahiliou region for more than 20 years. For this, they had repeatedly come under the scrutiny of local authorities, who are dissatisfied with the criticism coming from human rights defenders.
The hearing about the “Mahiliou Human Rights Center” liquidation will be held on February 17 at 14.30, reports the Human Rights Center “Viasna.”
On 2 June 2021 Davide Abbatescianni wrote in Cineuropa about Lars Edman and William Johansson’s film which documents the devastation caused by a Swedish mining giant in a Chilean desert town
Over 30 years after Swedish mining and smelting giant Boliden shipped almost 20,000 tons of toxic mining waste to the Chilean desert city of Arica, a group of Special Rapporteurs from the United Nations Human Rights Council (UNHRC) led by Dr Marcos Orellana have made allegations of ongoing human rights abuses, as exposed in Lars Edman and William Johansson’s documentary Arica [+]. The feature was presented at last year’s IDFA and is set to continue its festival run in Spain, the Czech Republic, Italy and Belgium.
Exposure to the waste led to numerous cases of cancer, birth defects and serious diseases. Currently, the Chilean government estimates that around 12,000 people were exposed to the toxins. The UNHRC has advised the Swedish government that “urgent measures should be taken to repatriate the hazardous wastes to Sweden and/or ensure the disposal of the hazardous wastes in an environmentally sound manner”.
Particular criticism is aimed at Boliden Mining, which the body accuses of “intimidating and threatening behaviour” towards human rights defenders – namely, the legal team representing the victims in Arica. They allege that such an approach, adopted by Boliden following the decision by the Swedish court of appeal not to hear the Arica case on the grounds that Boliden’s actions took place too long ago to be tried under Swedish law, was “a deliberate attempt to produce a wider, chilling effect of silencing and intimidating other lawyers and human rights defenders”. The United Nations’ action has been welcomed by victims and campaigners, including community campaigner Rodrigo Pino Vargas, who said: “For over 30 years, we have seen our families and our neighbours suffer the consequences of this Swedish waste. We have buried our children and been forced from our homes. We will not stop until our voices are heard and the damage is repaired. Even when we win in court, we find nothing but broken promises. For the first time, the intervention of the United Nations gives us hope that our human rights will be upheld. The people of Arica demand that immediate action be taken to meet our health needs and that the toxic waste be returned to where it belongs – in Sweden.”
The acclaimed documentary, shot over the course of 15 years, sheds light on a shameful case of modern colonialism. After losing their case in 2018 with a sentence that ultimately sided with Boliden, rejecting the Chilean judges’ verdict on the firm’s responsibilities and decriminalising their misdeeds, another appeal was lost in 2019. As of today, the Swedish Supreme Court has not granted Arica’s victims the right to appeal, and Boliden is threatening to sue their lawyers to make them pay the legal costs, a sum close to $5 million.
Producer Andreas Rocksén commented: “When Lars and William began filming 15 years ago, their intention was to ensure that the voices of the people in Arica, affected by the waste that came from under the soil where they grew up, would be heard. What has happened since has surpassed any expectations: their story is being heard around the world, and yet those same people in Arica are still fighting for justice. We will continue to amplify their voices as best we can and applaud all the different initiatives aimed at seeing their human rights upheld.”
Meanwhile, political pressure in Sweden is mounting as the country prepares to host the Stockholm+50 event, marking 50 years since the first-ever UN Conference on the Human Environment.
Philippe Dam, Advocacy Director, Europe and Central Asia Division of Human Rights Watch, on 2 June 2O21, writes aavout Azimjon Askarov, a 69-year-old human rights defender from Kyrgyzstan, who died in prison after contracting pneumonia. Askarov had been in prison for 10 years, having been given a life sentence following an unjust and unfair trial in 2010, in retaliation for his investigations into the tragic wave of inter-ethnic violence that year in southern Kyrgyzstan. [see: https://www.trueheroesfilms.org/thedigest/laureates/D8B31FA3-E648-4F92-81B9-8C3A4270F80E]
Askarov’s trial in 2010 was marred by serious procedural violations and allegations of torture that were never investigated. A United Nations human rights body ruled in 2016 his detention was illegal and called for his immediate release, but Kyrgyz authorities looked the other way.
Since his death, many have called for a full inquiry into the causes and responsibilities for his death. A toothless internal inquiry ordered by Kyrgyzstan has gone nowhere. The documentary “Last Chance for Justice,” by filmmaker Marina Shupac, is a touching portrayal of the fight by Khadicha Askarova, Askarov’s wife, for justice and his release from prison.
The screening is on June 4 as part of the One World Film Festival in Brussels. The panel discussion of the film will be joined by Eamon Gilmore, the EU’s top human rights envoy; Heidi Hautala, a European Parliament vice-president; and a representative of the Office of the EU’s Special Representative to Central Asia.
On the same day as the screening, the EU is set to hold its highest-level annual meeting with Kyrgyz officials. This is a crucial opportunity for the EU to make it clear that closer ties with Kyrgyzstan will depend on the resolve of Kyrgyzstan President Japarov’s administration to investigate Askarov’s death, clean up his judicial record, and grant compensation to his family.
This week’s high-profile screening makes clear: Kyrgyzstan will continue to be in the international spotlight on Askarov until it fulfils its human rights obligations to account for his death.
The 19thGeneva’s International Film Festival and Forum on Human Rights (FIFDH) has wrapped its first digital edition with the announcement of its winners. Running from 5 to 14 March, the event gathered nearly 45,000 people who watched the films, debates and various content available online. “While we regret not having been able to open this Festival to a physical audience, some of the experiments carried out this year will be perpetuated. We must pay tribute to the FIFDH team, which has been able to adapt to many challenges with increased energy,” mentioned general director Isabelle Gattiker.
Starting with the Creative Documentary Competition, the jury headed by Ukrainian filmmaker Oleg Sentsov, and featuring Lamia Maria Abillama, Yulia Mahr, and Arnaud Robert, bestowed the Grand Prize of Geneva valued at CHF 10,000 – offered by the city and state of Geneva – upon Shadow Game by Eefje Blankevoort and Els Van Driel. The jury’s statement mentions that the film “deals with a crucial issue in modern time: young migrants alone on their road, trying to cross boundaries and as they say: ‘playing their game’.With the use of videos and social media material produced by the teenagers themselves, it has innovative filmmaking, and it is pushing cinematic boundaries in many ways.”
Shadow Game also picked the Youth Jury Prize, as it “brings to our attention the fact that we need not look far to find human rights’ violations. This confrontation makes it necessary to take greater responsibility at the sight of this injustice and to abandon the often-stereotypical image of migrants,” the jury stated.
The CHF 5,000 Gilda Vieira de Mello Prize in tribute to her son Sergio Vieira de Mello, went to Downstream to Kinshasa [+] by Dieudo Hamadi for its “powerful and brave character-orientated filmmaking, about reparations for forgotten communities who endured atrocities (the Six-Day War in the Democratic Republic of the Congo in 2000). This film is haunting and shows such a rage of the protagonists seeking justice and reparations.” Once Upon a Time in Venezuela [+] by Anabel Rodríguez Ríos received a Special Mention by the jury as the director “approaches the protagonists in a very crude and yet subtle way, showing brilliantly the inextricable relation between industrial pollution, political and electoral constraints as well as citizens’ welfare.”
In the Fiction Competition, the Grand Prize Fiction and Human Rights, valued at CHF 10,000 and offered by the Hélène and Victor Barbour Foundation, went to Veins of the World [+] by Byambasuren Davaa as it “points beyond itself, towards a formless totality, a shared human experience often forgotten and instantly remembered where the beauty and pain of a profoundly essential human longing is unearthed and laid bare,” according to the jury presided by American filmmaker Danielle Lessovitz, with Santiago Amigorena, Laïla Marrakchi and Philippe Cottier. The film also won the Youth Jury Prize.
The Special Mention went to Should the Wind Drop [+] by Nora Martirosyan, “an important film, especially in the current context where borders are moving and closing and where it is difficult to travel.”
Finally, in the Grand Reportage Competition, the CHF 5,000 Prize of OMCT (World Organisation Against Torture), went to Coded Bias by Shalini Kantayya which, according to the jury, “powerfully depicts the threats that artificial intelligence poses to our liberties, including by hardwiring into algorithms racist and sexist biases.” The Public Award went to Dear Future Children [+] by Franz Böhm, which received CHF 5,000 from the FIFDH.
Revealed for the first time: Reminiscent of what is happening in Hong Kong today, this is a story about underground film-making, radical art, and censorship. In 1979, Chi Xiaoning created his “Film of Star Group Activities of 1979.” It is the only known video documenting the radical activities of the Stars Group, avant-garde artists from China who championed individuality and freedom of expression. The only copy of the footage is in the M+ Collections in Hong Kong. American film-maker Andy Cohen, a regular Global Insights Magazine contributor, portrays this story in his 2020 film ‘Beijing Spring’, which is being premiered internationally at the Geneva Human Rights Film Festival (FIFDH) in March, 2021. [see https://fifdh.org/en/2021/film/120-beijing-spring]
In Global Geneva of 11 February 2021 Andy Cohen writes about the challenges behind Chi Xiaoning’s daring film-making during a period that was subject to severe censorship in favour of official propaganda art.
Before the 1980s, documentary films in China were mostly propaganda made to serve the ideological purposes of the Communist Party. Views critical of the party were prohibited. Only one official voice could be heard: that of the government. Film-makers obeyed Mao Zedong’s dictum that artists’ works should reflect the lives of the masses — the workers, peasants, and soldiers—for whom they were made. These films, scripted and staged using ‘model people’ instead of ordinary subjects, were crafted in a dogmatic, formulaic style that put a positive spin on government policies.
By 1979, however, the political tide in the People’s Republic had turned and the scent of reform began to fill the air, heralding what would become known as the Beijing Spring. Mao Zedong had died a few years earlier, and the nation had begun to reawaken after thirty years of oppression that had claimed more than fifty million lives. Deng Xiaoping, the new ‘paramount leader’, experimented with not only economic reforms but also loosening restrictions on freedom of speech. He even tolerated the open postings of government criticisms in one easily monitored locale in central Beijing — a long brick wall running along Xidan Street just west of Tiananmen Square that came to be known as Democracy Wall.
Originally intended for workers and peasants to post the grievances they’d suffered during the Cultural Revolution, the wall was quickly overtaken by artists and activists, who seized the opportunity to post their radical works in such a prominent place. These artworks and writings not only exposed the suffering the country had been through but also focused on the present plights of ordinary people, emphasising that every individual is unique, equal, and imbued with the right to openly express thoughts and emotions without being crushed or silenced.
A young Beijing film-maker named Chi Xiaoning used this moment to shoot an unofficial documentary about the Democracy Wall movement in a style different from its predecessors. Chi chose to focus his film on the daring activities of one specific group that had arisen from the underground magazine Today: a band of artists who called themselves the Stars Group (Xingxing). Explaining the imagery behind the choice of the name, the group’s co-founder Ma Desheng said: ‘When I was growing up there was only one star in the sky: the red sun, Mao Zedong. Many stars mean many people. Every individual is a star.’
In order to realise his vision, Chi needed to overcome one major obstacle: finding a camera and film stock, both of which were unavailable to the average person. Luckily for Chi, his faithful friend Ren Shulin was among the precious few who not only knew how to operate a camera but actually had access to one.
In May 1979, Ren was assigned to work at the Institute of Coal and Carbon Science. His job was to film official documentaries about safety in coal mines. ‘To smuggle one or two boxes of film out of my service was easy. To get more? That took some time. And to get the movie camera out — that racked my brains,” Ren later stated. In the end, Ren succeeded and the two began filming on 27 September, 1979, the first day that the Stars Group hung an unofficial exhibition on the perimeter fence outside of Beijing’s China Art Gallery (now known as the National Art Museum of China). Simultaneously, an official propaganda art show was being held inside the space.
Adding to this paradox was the name of the film Ren had smuggled out: Every Generation Is Red (Dai Dai Hong). Ren’s knowledge and courage enabled him to play the crucial role of camera assistant, steadily unloading and reloading the reels under the cover of trees at the eastern wall of the gallery. By keeping the film stock safe from the crowds, avoiding the scrutiny of undercover police, and feeding him reels, Ren enabled Chi to continuously film the Stars exhibition on the fence.
The camera Ren smuggled out was a hand-wound Gansu’s Light model (Gan Guang). This made Chi’s already difficult task all the more so, as he aimed to capture real events unfolding in real time. A fully wound camera could shoot for only thirty seconds, and an entire box of film produced only three minutes of footage. This time constraint, coupled with having to avoid the police, tested Chi’s improvisational style.
Chi climbed the back of the fence to capture the impressions of onlookers as they stared at the artworks with shock and awe. Chi’s method, like the Stars artists’, focused on ordinary people such as factory workers, teachers with students, and the elderly. He recorded their genuine emotions and free expressions typically hidden beneath the outer masks that had become the default after years of toeing the party line.
The fact the Stars artists also employed original, modernist styles and content, utilising free forms and abstraction, added a meta-artistic layer to the undertaking. Chi shot an avant-garde film about avant-garde artists during a time when the act of filming was also considered an act of protest. This was art for art’s sake, produced about and with the aim of freedom of expression. Chi’s lens revealed faces viewing never-before-seen artworks that challenged the aesthetic conventions of the party, and that depicted the naked female body in twisted modern forms. The first day was a success for both the Stars artists and the greater artistic principle.
Early the next morning, Chi and Ren were back at the fence, locked, loaded, and ready to film, when the police suddenly arrived to take down the Stars Group exhibit. As the police closed in, Chi wound his way through the crowds, in and out of the chaos ‘like a wartime journalist in a battlefield’, as Ren later described it. After tearing the art off the fence, the police surrounded Chi and Ren. They had no chance to escape. The police confiscated the camera from Chi. From Ren, they took the camera bag containing the used and unused film stock.
“I was very nervous,” Ren recounted. “If the camera was confiscated, I’d be fired from my job at the institute. But Xiaoning was calm, arguing with the other side.” After being kept in a windowless room inside the museum for hours, the film and the camera were abruptly and inexplicably returned to Chi and Ren. For some reason, the authorities’ mood was sympathetic to the artists that day.
The Stars Group artists, on the other hand, were angry that their show had been terminated and their artworks confiscated. Together with other political activists, they planned a protest rally and march. Everyone knew this could mean jail time for the ringleaders.
The Stars rally was an enormous provocation to the Communist leaders — it was reported on and documented by foreign media at the time — and it was planned for 1 October: National Day and the thirtieth anniversary of the founding of the People’s Republic. The big parade had been cancelled in light of Mao’s death in 1976; now, in its stead, the Stars and their supporters took it upon themselves to march from Democracy Wall to the Municipal Building. Chi planned to film it but told Ren not to assist him. If caught, there was no sense in both of them going to jail, as he would need Ren to develop the reels and edit the film.
Chi stood atop Democracy Wall, filming as the rally began. When the group headed for the Municipal Building, Chi and his camera weaved in and out. He went inside factories and shot from windows to capture workers’ perspectives; he zoomed in on passengers’ reactions as they peered from the windows of passing buses; he filmed the crowds of protestors marching along rainy streets, zooming in on their puddle-pounding feet.
While the crowds marched on, Ren waited anxiously all day for news of his friend. This was an era before cell phones and pagers. It was inevitable that, with a 16mm camera in hand, filming in highly visible locations, Chi once again attracted the omnipresent authorities’ attention. When asked how Chi had saved his film, Stars Group artist and friend Wang Keping recounted that Chi had told him he’d exposed the part that had not yet been filmed, tricking the police into thinking it was useless. Beyond showcasing his enormous talent, what makes Chi’s footage even more spectacular and immediate is the constant risk of arrest he faced while filming.
In stark contrast to his main action footage of the protest march, Chi also shot B-roll focusing on scenes by the lake in the park of the Old Summer Palace. In its deceptively quiet manner, however, the B-roll is just as avant-garde. From the weather conditions it is evident that he filmed on two different occasions. On the first day, the water was calm, as were the demeanours of the subjects—rowing on the lake, playing guitars or mah-jong, strolling along tree-lined trails, and picnicking. This idleness was diametrically opposed to the ‘heroic’ actions of the ‘model people’ in official documentaries. The calmness of the lake mirrors the first quiet day of the exhibit.
On the second day of B-roll, the wind was flapping the red flags on the bridge and bending the branches of trees, reflecting the chaos of the protest march. Chi’s use of contrasting weather filmed at the park echoes the inner emotions of his subjects as well as the political events surrounding them. The B-roll shows close-ups of everyday objects with an anthropomorphic introspection: the empty rowboats lined up like cadres, crates of empty soda bottles (Coca-Cola had just entered China in December 1978), goldfish swimming in a vendor’s water-filled plastic bag—all shots considered unsuitable for documentaries at the time.
When asked why the style of this footage can now be considered groundbreaking, Ren replied, “Documentary films in China were almost all propaganda, not the expression of the author himself. We were conscious of this, so our film, from idea to structure to visual language, was different from documentaries of that time.”
Despite its significance, almost no one knew about this unfinished film until recently. In total, it comprises forty-seven minutes of raw footage, out of sequence, that was hidden from the authorities for the past thirty-five years. Fearing for the safety of his friends and his family, Chi hid the salvaged footage in a confidant’s home, swearing him to secrecy.
After Chi’s untimely death in 2007, no one knew the whereabouts of the footage, not even Ren, as it had been kept underground, passed from friend to friend. The footage was eventually recovered and the only copy now resides in the M+ Collections.
Film of Star Group Activities of 1979 by Chi Xiaoning and Ren Shulin reflects on and documents the social, cultural, and political changes that took place during the Beijing Spring. This treasure trove will be mined for years to come by film-makers, historians, and art historians alike. This pivotal moment in China’s history, which gave birth to its democracy movement, could not have been possible without the powerful combination of art and activism that coalesced at Democracy Wall. And because of the courageous feats of one documentarian and his assistant cameraman, history will forever have the visual accounts of those exciting times.
Andy Cohen is an American documentary film-maker, journalist and author based in Geneva. Much of his work is investigative and human rights-based. Cohen’s films have been shown at the FIFDH Geneva, Venice Film Festival, Telluride, Tribeca, Traverse City, Toronto International Film Festival, Berlin Film Festival, and the Sundance Film Festival, among others, and broadcast on PBS, BBC, UK Ch4, ARTE, Netflix, and Amazon.For more information about AC Films, please go to his website.
A version of this article was first published byM+ HK.
On 16 December 2020 Arab News carries an interview with Filmmaker Jeff Kaufman who tells of his admiration forNasrin Sotoudeh and the activists who shot his documentary in secret inside Iran over a two-year period, ending in June 2018.
It is one thing to criticize the brutality of the Iranian regime from outside of the country; it is quite another to do so from within, under constant surveillance by the nation’s secret police or even from the inside of a prison cell. Yet that is exactly what Nasrin Sotoudeh has been doing for most of her life. As a lawyer she fought for the rights of dissidents who dare to condemn the oppressive actions of Iran’s religious rulers. See e.g.: https://humanrightsdefenders.blog/tag/nasrin-sotoudeh/
Her poignant and inspirational story is told in a new feature-length documentary film that was secretly recorded inside Iran. “Nasrin,” which is narrated by Oscar-winning British actress Olivia Coleman, reveals how a woman who was one of her country’s leading lawyers, fighting to preserve freedom of speech and human rights, was torn from the arms of her husband and two children by Iran’s secret police and locked up.
“Nasrin Sotoudeh is one of the most remarkable human-rights activists on the planet,” said Emmy-nominated filmmaker Jeff Kaufman, the film’s producer, director and writer.
Kaufman explained that his film aims to show international audiences the reality of life as an Iranian in modern-day Iran. “(The film) profiles Nasrin and her work but we also really wanted to bring alive the rich culture of Iran and show that there is a difference between the leadership of that country and the people of that country,” he said.
“Rather than release Nasrin, they sent her to another prison where she contracted COVID herself and she (was sent) home on a temporary health leave, having both COVID-19 and a heart condition,” he added. “She was told that health leave would stay active for a while but last week she was abruptly sent back and is in prison now.”
“Nasrin” will be available to stream online from 18 December. Visit www.NasrinFilm.com for more details and to watch the trailer.
On 9 December 2020 Rappler announced that supporters of embattled Senator Leila de Lima will mark Human Rights Day on Thursday, December 10, with an online film screening titled “CinemaLeila 2020.”
The screenings will include films and documentaries about human rights issues in the Philippines Spearheaded by the Free Leila de Lima Movement, the screening will feature select short films and documentaries about human rights issues in the Philippines.
The line up includes the following titles:
Bad Elements
Miss You ‘Nay
Hayop
I Believe
Marapat Lang
Counter Terror
Paranoia of the Guilty
Dakilang Pagbabago 2020
Sober
Titser Gennie
Selda
Sino si Reina Mae Nasino?
PKNP (Pambili ng Karapatang Pantao)
Pawns
Ili Ili, Tulog Anay
These and other films and documentaries will be streamed on the Facebook page of the Free Leila de Lima Movement and, on De Lima’s official Facebook page.
There will be screenings on Wednesday, December 9 – Human Rights Defenders Day – from 7:30 pm to 9 pm, and on Thursday, December 10, also from 7:30 pm to 9 pm:
Hans Thoolen on Human Rights Defenders and their awards 