Culture

'Bridge to Iran: We Are Half of Iran's Population' on Link TV 2/28

"Mr. President, Mr. Future President," says Mahboubeh Abbasgholizadeh, a researcher and women's rights activist, "For crying out loud, we have minds, we have powers of discernment, we know how to live, how to spend, how to behave with our husbands, how to dress." Her assertion is one of many made in We Are Half of Iran's Population, the documentary that Rakhshan Bani-Etemad put together in the months just before the 2009 elections in Iran. The hope was that women's voices might be heard by presidential candidates, that their concerns would be addressed. The filmmaker explains that she had been asked many times before why she made films, and who saw her work. And so she made a film with a specific audience in mind.

The film -- which premieres on Link TV on 28 February -- offers talking heads, asking questions and pointing out injustices. It also includes shots of meetings and conversations, as well as of viewers watching women on screen, images that underline how films are means of communication, effective when they are shared. Some interviewees note problems in need of attention: the objectification of women, the constraints on women's rights to speak or be seen in public, to organize, receive medical treatment, or be educated. Some note the effects of censorship (journalist Jia Abni-Yagoub says, "I run into problem when I try to use the phrase 'women's movement' in newspapers" and journalist Shahla Sherkut observes, "The word 'woman' has been blocked by the Iranian government on the internet, so even if you want to research women's illnesses, you can't"). Others point out the scarcity of women in official positions, women's lack of access to education or business opportunities.

One after another, women observe the limits on their speech and even their thoughts. "I have one question for the future president," says Nasreen Sotoudeh, a lawyer and women's rights activist, "In these conditions in which women are under extreme social and legal pressure because of their civil demands, and we have had heavy sentences of one to even five years of imprisonment, given that the executive branch has no right to interfere with the judiciary, what measures do you propose to stop all of these pressures against women's rights activists?"

The film closes with an epigraph revealing that "permission was not granted" to release We Are One Half of Iran's Population before the elections. And so Rakhshan Bani-Etemad copied it and distributed it among the people. This epigraph notes as well the extraordinary vote count that allowed Mahmoud Ahmadinejad's reelection. "People's questions and doubts about the election results have remained unanswered," the film maintains, before it lists participants who are now imprisoned.

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From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Julian Barratt and Oliver Maltman (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

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The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

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Books

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

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