Ashvin Kini

Un Amour à Taire (A Love to Hide)

admin — Fri, 20 Jul 2007 23:02:00 +0000

Christian Faure’s A Love to Hide is a deeply powerful film. Set in Paris during the Nazi occupation of France, the film depicts the violent effects the Nazi criminalization of gayness. The story begins with Sara’s (Louise Monot) escape from her home, after Nazi’s have murdered her entire family. Out of desperation she contacts an old friend (and potential love interest), Jean, played with startling effect by Jérémie Renier. Jean convinces his lover, Philippe (Bruno Todeschini), to hide Sara, placing the three characters in an awkward love triangle that eventually leads to a deep friendship. Family politics between Jean and his brother Jacques (Nicolas Gob) lead to Jean’s arrest by Nazis on charges of sexual deviance. The remainder of the film deals with Sarah and Jacques’ attempts to get Jean released.

The narrative itself is dense with emotionally charged with issues of love, jealousy and violence, however, Faure ultimately fails to deliver on the promise of his powerful storyline. The first half of the film is a wonderful depiction of Jean and Philippe’s relationship, the challenges of integrating Sara into their secret world, and the underground queer culture thriving in Paris. With the introduction of Jacques, the film fizzles into little more than soap opera. The film is further strayed after Jean is arrested, shifting its focus onto the blossoming relationship between Sara and Jacques.

Regardless of the narrative flaws, the film retains its effectiveness in the performances of all the lead players. Renier, in particular, depicts with equal sensitivity Jean’s vulnerability and the strength he receives from his love with Philippe. A flawed effort, but noble nonetheless.

Written by: Ashvin Kini, July 20th 2007

Soul Sides, Vol. 2: The Covers

admin — Sat, 26 May 2007 02:35:00 +0000

By Various Artists

Zealous Records

Zealous Records continues to amaze with another brilliant compilation of classic soul tracks, Soul Sides, Vol. 2: The Covers. The 14 tracks range in style from old-school funk to smoother grooves. There are many highlights to the collection, but stand out tracks include Sharon Cash’s horn-inflected “Fever,” Antibalas Afrobeat Orchestra’s “Che Che Cole” and El Michaels Affair’s bass-heavy “Walk On By.”

The collection reaches its pinnacle with three tracks in particular, juxtaposed to showcase the reach of classic soul music. Al Green’s signature warmth is on full display in his rendition of “I Want to Hold your Hand.” Marcia Griffiths’ impeccable phrasing on “Here I Am (Come and Take Me)” compliments the lyrical simplicity to create a rich, emotional track. But it is Esther Phillips’ “Home is Where the Hatred Is” that steals the show. Phillip’s shows off her considerable musical gifts on this most emotionally raw song. All in all, the disc is a must-have for soul music lovers.

Written by: Ashvin Kini, May 25th 2007

InshAllah

admin — Thu, 24 May 2007 12:42:00 +0000

Directed by Malene Choi Jensen

Malene Choi Jensen’s InshAllah impresses with its muted visuals and quiet background score. Sabha Khan is a Danish Muslim girl, struggling to create an independent life. She is devoted to her family, has wonderfully supportive friends. She is obviously intelligent, but is unable to find work because of her religious identity and her decision to wear a head scarf.

Interspersed with interview footage are sequences depicting Sabha’s home and social lives. She reads to us the countless rejection letters from potential employers—all attempting to conceal their blatant racism and xenophobia. Jensen’s visual scheme is particularly effective, using a range of pastel pinks, oranges and purples, with scenes bathed in natural sunlight creating an almost dreamlike experience.

The film effectively manipulates time to create a flowing narrative. Sabha begins hopeful and driven, only to become more pessimistic and defeated by the film’s end. Her utter frustration speaks to a larger theoretical framework of institutional exclusion, in which those who continually seek more opportunity are inevitably constricted and confined by others’ intolerance. Given the current political climate in the United States (and abroad), Jensen’s work counts as a vital exploration of Muslim women’s identity and agency. It’s a quietly powerful film—one that deserves a wider audience and an even wider appreciation.

Written by: Ashvin Kini, May 24th 2007