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Laughter mixed among the conversational hum of many of the lesbian, gay, bisexual and transgender activists assembled as they looked up to see the popular symbol of their struggle for acceptance emblazoned in bold primary colors above a city that has grown increasingly hostile to their presence within it. On April 14, Tunisian actor Ahmed Landolsi appeared on television to label homosexuality a sickness, comments later echoed by popular singer Walid Ettounsi, an artist who played in the United States this month.Since these comments, homemade signs have appeared in shop and restaurant windows throughout much of Tunisia refusing service to anyone perceived to be homosexual.The story of a woman who wants to remarry but faces the prospect of abandoning her son to her drug-addicted ex-husband if she does, it is a gripping study not only of the practical difficulties of being a woman in Iran but also of the ways ordinary people try to circumvent the system.Bayat plays Nahid as petulant, brave, funny and irrational, and as far from any stereotype as possible.The power of the South African film “The Endless River”, selected for the Golden Lion at Cannes and the winner of the Silver Tanit prize in Carthage, lies in the quiet performance of Crystal-Donna Roberts in her first main role ().
It is a companion to the Fespaco festival in Ouagadougou in Burkina Faso and the official competition is only open to Arab and African film-makers.
“The History of Arab Feminism”, a documentary by Feriel Ben Mahmoud, was a crowd-pleaser.
It shows the great strides made by feminist movements during the waves of independence in the 1950s.
It’s Larry Clark and Bret Easton Ellis for a new generation of disaffected youth brought up on prescription drugs, Miley Cyrus and Instagram. In one scene, a group of black and white South Africans are smoking dope in the park, just talking: “The whole world is going to be on the internet.” “Who’s going to manage that shit?
” “There are ten niggas who run that shit.” “Like the Rockafellas and the Illuminati.” It’s a sharp dissection of race, modern culture and inequality which, while never in your face, leaves a lingering taste of something unpalatable but vital.