It took David Kato some time to discover his calling, his identity as a gay man in Uganda and, beyond that, as a courageous fighter for gay civil rights. As he recalls in Call Me Kuchu, he came to his self-understanding when he left Uganda, briefly, in 1992. On arriving in South Africa, he remembers, he stayed at a YMCA. “I saw these men on the street,” he says, and when he asked what they were selling, wondering whether it was “gold or diamonds,” he was told they were selling themselves. He was further surprised when he learned that these men sold themselves to other men. “I said, ‘For what?’” Here David exaggerates his response, cocking his head to the side. “I said, ‘Ahh.’ And I’ve always wanted men, so I went to the street.” Returning to Uganda, he cofounded SMUG (Sexual Minorities Uganda), and took up a series of public and legal campaigns against various sorts of homophobia, particularly concerning newspapers outing and targeting individuals. The filmmakers, Katherine Fairfax Wright and Malika Zouhali-Worrall, spend a year with Kato, tracking and commending his efforts and confidence, his infectious good humor and his terrific charisma.
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“I think conservatism’s all about being a individual,” announces Nick at the start of Follow the Leader. One of three high school class presidents followed by the film, he’s eager to attend the annual Boys State Leadership Week, where he and his fellows will be learning all about “politics.” As the film begins, Nick, Ben (a liberal, at first), and D.J. (an independent, more or less) take this word to mean a career, dedicated to public service, fulfilling their own ambitions, and making changes in people’s lives. Over three years, Jonathan Goodman Levitt’s beguiling documentary reveals, all three undergo changes, some more drastic than others.
“More is good. A hell of a lot more can be bad.” National security expert Richard Clarke’s pithy observation comes near the end of Top Secret America: From 9/11 to the Boston Bombings, the repurposed Frontline episode airing on 30 April on PBS. And after watching the show—again, for those of you who saw the previous iteration in September 2011—you may be feeling the “more” in multiple ways. The report’s repetitions are in themselves disturbing, first that the costly ramping up of top secret America has gone on and on since 9/11, and second, that the results look negligible. It’s true that it’s hard to measure what doesn’t happen, but still, as the program lays out, the past decade’s efforts to “secure the homeland,” however tremendous, not only leave the homeland insecure, but also, in some cases, increase the risks. This is not only because advancing surveillance technology is ever incomplete, though it is, but more urgently, that some programs, say, drones or black sites, incite frustration, anger, and resistance in affected populations.
Two scenes introduce the doubled focus of Five Broken Cameras. First, the population of Bil’in’s collective efforts to resist a coming Israeli settlement, and second, the filmmaker Emad Burnat’s efforts to make sense of the resulting chaos. “I was born and lived all my life in Bil’in,” he says. He used to work alongside his father picking olives, but more and more, the land where the olive trees grow is being claimed by Israelis. As his future changes before him, Emad also thinks about his past, his father and his four sons. The youngest is born in 2005, just as Emad begins recording events in earnest). The “land of my childhood and his birth,” Emad observes, will never be the same.
// Moving Pixels
"Virginia manages to have an exposition dump without wordy exposition.READ the article