A wide range of topics were debated covering employment challenges, feminism, motherhood, and religion, to examine both the cultural and social challenges women faced in living their lives. Programming ran over the course of a month, culminating in a conference held on 25 October, in which 100 women from across the world discussed issues they shared. Women to participate in the first program were chosen by survey in 26 different language services.
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The BBC launched this series in 2013 to address the under-representation of women in the media. They felt that many of the issues women faced were not getting in-depth coverage, and in March 2013 a "flood of feedback from female listeners" was received by the BBC to the effect that the corporation should provide more "content from and about women."
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Camerawork is handheld and very instinctive, and never completely stable.After the 2012 Delhi gang rape, then BBC Controller Liliane Landor, BBC editor Fiona Crack and other journalists, were inspired to create a series focusing on the issues and achievements of women in society today. Rehana’s one-track mind and obsessions are also reflected in keeping only the faces in the foreground in focus, while the background blurs together. He and DP Tumil Tamijul adopt strong technical choices, most noticeably the heavy azure blue cast given to every scene, a cold and off-putting color that seems to rob the scenes of life. Saad has an absolutely sure hand in directing Badhon and guiding her into higher octaves of the role as the drama grows and grows. As Rehana’s brother desolately asks when he drops Emu off with Mumma, knowing that his sister is about to bitterly disappoint the child’s expectations, “Are you doing this for her or for yourself?” It could be said that there is no fixed point of view in the film’s shifting psychological and moral terrain, which overlap and challenge the viewer to look in two different directions at the same time. It’s increasingly clear that Rehana mirrors herself in the child and that their psychologies play off each other in an alarming way. But there are dark recesses in the young woman’s mind that turn the second half of the film into a breathless trip into female repression, anxiety and violence.Ī big part of Rehana’s life revolves around her often neglected daughter Emu (a wonderful Afia Jahin Jaima), whom she affectionately calls “Mummy” while the little girl calls her “Mumma.” Emu already shows a strong streak of stubbornness that she has culled from Mumma, and their battle of wills becomes a heart-wrenching no-win contest.
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Up to this point, most of the audience will be with her, though maybe with some reservations about her enthusiasm for a public hanging.
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The important thing is to make him confess and resign, rendering it impossible for him to attack other college girls in the future.
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“I am a witness and I can’t remain silent.” She does her best to force Annie to report the prof to the school principal when she refuses, Rehana decides to claim it was she who got raped. She senses something terrible has happened and wants to know more.Īs the story progresses, so does Rehana’s unhealthy involvement in the affair. Wrapped in a white scarf that emphasizes her inner purity, she glares balefully at Annie, a student who emerges from Arefin’s office in tears. Arefin (Kazi Sami Hassan) takes an easygoing approach to the students’ various misdeeds and lets them off with a slap on the wrist, whereas Rehana would prefer to cut off their heads. Sexism is rife and blatant in the Bangladeshi medical college where Rehana works. Venue: Cannes Film Festival (Un Certain Regard)Ĭast: Azmeri Haque Badhon, Afia Jahin Jaimaĭirector/screenwriter: Abdullah Mohammad Saad