Chair: Parimal G. Patil, Professor of Religion and Indian Philosophy, Committee on the Study of Religion, FAS, Chair of the Department of South Asian Studies
Final Solution is a study of the politics of hate. Set in Gujarat during the period Feb/March 2002 – July 2003, the film graphically documents the changing face of right-wing politics in India through a study of the 2002 genocide of Moslems in Gujarat. It specifically examines political tendencies reminiscient of the Nazi Germany of early/mid-1930s.
After the screening there will be a Q&A with Rakesh Sharma.
The recent revival of cinema in Pakistan has generated excitement and captured the imagination. A new generation of filmmakers ranging from the conventional to the experimental are exploring the possibilities of re-imagining family, friendship, love, the nation, and retelling ways of injustice and cruelty. Love, War and Other Longings is an invitation to come and participate in these new narrations, to explore their possibilities and examine their implications. What kind of future is this and what representations of the past does it require? What is being celebrated and who is being left out? By bringing film-makers, academics, activists and member of the public together we seek to generate a discussion that expands the potential for film-making in Pakistan, to foster this culture-industry in order to diversify and expand our imaginations, our empathy and our politics.
Ruth Barron, Assistant Professor of Psychiatry, Harvard Medical School
Chair: Jennifer Leaning, François-Xavier Bagnoud Professor of the Practice of Health and Human Rights, HSPH; Director, FXB Center for Health and Human Rights
The collapse of the Rana Plaza building in Bangladesh is the worst industrial disaster of the 21st century, in which over 1100 people died and thousands more were injured. Through a series of compelling interviews with survivors of the tragedy, this moving film gives a voice to those directly affected.
Deepti Kakkar and Fahad Mustafa, Directors
Chair: Rohit Chandra, PhD candidate, Harvard Kennedy School
4:00-5:30 pm – Film Screening
5:30 – 6:30 pm – Discussion and Q&A with Directors
Katiyabaaz is a 2014 Indian Hindi documentary film directed by Deepti Kakkar and Fahad Mustafa about the problem of power theft in Kanpur. Released in India on August 22, 2014, the film is shot in Kanpur city, which faces long power cuts, giving rise to the profession of Loha Singh, a local electricity thief orkatiyabaaz in localities like Chaman Ganj. He provides illegal electricity connections to people, while Ritu Maheshwari, MD of KESCo, Kanpur Electricity Supply Company, tries to tackle the issue of rampant electricity theft.
The film was premiered at the Berlin International Film Festival 2013 and later won the Best Film in the India Gold Section at the 15th Mumbai Film Festival. At the61st National Film Awards the film won the ward for Best Investigative Film.Katiyabaaz premiered on American television on Independent Lens – PBS on November 3, 2014
Co-Sponsored by the Harvard Electricity Policy Group and the Energy Technology Innovation Program
Lakshmi Iyer, Associate Professor of Business Administration, Harvard Business School
Diane Rosenfeld, Lecturer on Law and Director of the Gender Violence Program, Harvard Law School
Beena Sarwar, Editor, Aman ki Asha, Jang Group Pakistan; former Nieman Fellow and Fellow at the Carr Center for Human Rights Policy, Harvard Kennedy School
Chair:Jacqueline Bhabha, FXB Director of Research, Professor of the Practice of Health and Human Rights, Harvard School of Public Health, Jeremiah Smith, Jr. Lecturer in Law, Harvard Law School, Adjunct Lecturer, Harvard Kennedy School
The recently released BBC documentary India’s Daughter, by Leslee Udwin, captures the story of the brutal rape and murder of a young medical student on a bus in Delhi in December 2012. Banned by the Indian Government, the film has raised questions about the attitude towards violence against women in India.
A panel discussion will follow the screening, examining the documentary and its ban by the Indian Government through the lens of the law, the media, and gender.
Jointly organized by SAI and the India Caucus at HKS, and co-sponsored by the South Asia Caucus, the Human Rights PIC, the Gender Consortium and the Criminal Justice PIC.
Depicts the extraordinary journey of Kashmiri women from loss, separation, pain, anger, helplessness to hope, faith, grit and determination thrown up by tragedies and circumstances around them. The film is about ‘women in wait’ for their loved ones, who went missing in the conflict ridden valley of Kashmir, India, in last two decades. Woven around the life of Parveena Ahanger, a Kashmiri mother and other such women, the narrative of the film interweaves their memories of loss, pain, struggle, separation vented cathartic that have formed into a resistance movement which in practicality relives their hope to trace a clue about their missing family members.
Sat Nov 1: Saint’s Day: Directors in Conversation
11:20 am A Brief History of Pakistani Cinema
Lecture by Iftikhar Dadi
12:00 pm Josh (104 minutes)
2:00 pm Q+A with Josh Director, Iram Parveen Bilal
3:00 pm Lunch
4:15 pm Zinda Bhaag (120 minutes)
6:30 pm Q+A with Zinda Bhaag Director Meenu Gaur &
Producer Mazhar Zaidi
7:30 pm Reception
Sun Nov 2: Bloody Sunday: Contexts of War
10:00 am Panel Discussion: Bollywood and Hollywood; Betwixt & Beyond
Ramyar Rossoukh, Richard Delacy, Kamran Ali
11:30 am Waar (140 min)
2:00 pm Discussion on Waar
3:30 pm Roundtable Screen Stories & the Lives of Others
There will be a free shuttle from Harvard Square. to Brown on Nov1st.
Based on a true story that sent shock waves through India in 1992, this drama concerns Sanwari (Nandita Das), a lower-caste woman with a husband, Sohan (Raghuvir Yadav), and two children, who is raising her family in a rural village. While it’s generally Sanwari’s nature to mind her own business and take care of her family, when she sees a neighbor woman being mistreated by an man from the city’s upper caste, Sanwari is outraged and speaks out in public about the incident. Shobha (Deepti Naval), a social worker, is impressed by Sanwari’s conviction and hires her as an assistant as the Indian government begins implementing a program to give greater rights and protection to Indian women. While she’s timid at first, Sanwari soon comes to value her work as a feminist activist, but as she becomes more outspoken against sexism and abuse of caste position, she earns the enmity of many powerful men in the community. First Sanwari and her family are shunned by the local leaders, and then a group of men from the town’s leadership take their revenge by subjecting Sanwari first to a savage beating and then to a gang rape. Sanwari, Shobha, and Sohan refuse to be intimidated or silenced, and when the local leadership refuses to bring Sanwari’s attackers to justice, they bring the crime to the attention of the national media, leading people across the country to demand justice for Sanwari — and for women all over India.
The film is set against the backdrop of unrest in East Pakistan in the late 1960s leading up to the Bangladesh War of Liberation. In this setting, a small family must come to grips with its culture, its faith, and the brutal political changes entering its small-town world.