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by Cynthia Fuchs

27 Sep 2012

The bodies in the cemetery in Culiacán, Mexico are numerous. Many of them died young, victims of Mexico’s drug wars. Gang members and police officers, bystanders and wannabes, the dead appear sometimes in reports on the TV that the cemetery’s watchman runs at night, by way of a makeshift antenna. He listens and you hear that some 11,000 have been killed this past month alone, some 21,915 so far during Felipe Calderón’s presidency. You come to realize, late in Natalia Almada’s superb El Velador (The Night Watchman), that the year is 2009. It’s a year when Arturo Beltrán Leyva has been killed, “the capo of capos,” gone. But the process goes on, the deaths accumulate, and debts, so vigorously pursued, remain unpaid. The film—airing 27 September as as part of PBS’ terrific POV documentary series, and online starting 28 September—offers impressions of death and life too, shots of mausoleums under construction and children playing as their mothers clean gravestones. It also poses questions, focusing on the expansive land of the cemetery, so soon to be filled, the workers who do fill the empty space, on the sky and ground littered with structures. All serve as memorials to lives and deaths.

See PopMattersreview.

Watch El Velador (The Night Watchman) - Trailer on PBS. See more from POV.

by Cynthia Fuchs

18 Sep 2012

“We have no discipline, and this is one of the fundamental problems,” observes Abu Muhammed. “They don’t follow directions; we make plans and they don’t abide by them. If they follow 15% of the plans, that is great.” A rebel leader in Syria, he’s trying to coordinate disparate forces in the ongoing struggle for control over Aleppo. As he rides through neighborhoods where battle frontlines change by the hour, he delivers ammunition and a series of plans to an assortment of fighters, “the Islamists, the Jihadi, the secular, the village based units.” Abu Muhammed is at once determined and matter-of-fact. He keeps track of how many bullets and bombs her has in a ledger, he keeps in contact with his soldiers by cellphone.

by Cynthia Fuchs

17 Sep 2012

“I would like to point out that for me this is a very, very strange experience.” No kidding. The speaker is a marionette of Theodore Gottlieb, and as he may or may not be looking into the camera, you’re more than aware of the strangeness of this experience. “Frankly,” the puppet goes on, “I don’t know what I’m dong here. Frankly, I don’t know what you are doing here.” You may have an idea about this, at least in the sense that you’re watching the aptly titled film, To My Great Chagrin: The Unbelievable Life of Brother Theodore.

by Cynthia Fuchs

4 Sep 2012

Editor’s note: ‘I Was Worth 50 Sheep’ is streaming on PBS Video Player through September.

At 16, Sabere is trying to divorce her husband. Golmohammad beats her, she explains, and she’s had four miscarriages, at least one caused by an especially severe beating she describes in detail for I Was Worth 50 Sheep. At a safe house for women in Mazar, Afghanistan, she finds both sympathy and legal help.

As Nima Sarvestani’s documentary reveals, however, she also finds complications. First, she remains fearful of her husband, a Taliban in his 60s who killed his first two wives. And second, she’s at risk with her stepfather, Khalegh, who takes her in to live with her ten-year-old half-sister, Farzaneh. The haven he offers is dreadfully uncertain: “War is everywhere,” he says more than once, meaning that he can’t guarantee the safety of the girls living with him, that they may be sold for sheep if something happens to him. Moreover, Khalegh feels pressured to sell Farzaneh. When Sabere protests that the girl is too young to be married, he asks, “What can we do? He is violent.”

by Cynthia Fuchs

4 Sep 2012

“It’s absolute life or death stress, where basically, people’s lives are hanging with every decision you make.” Dr. Andrew Dennis smiles and shakes his head as he describes his work in the trauma unit in Chicago’s Stroger Hospital. The daunting violence in the city has made headlines this summer, and Chicago Trauma makes clear at least one cause, the “roughly 100,000 gang members,” who also take their work seriously.

//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

READ the article