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News ::
Film Showing - Mai Masri's new film - Frontiers of Dreams and Fears
04 Sep 2001
Mai Masri's new film, Frontiers of Dreams and Fears, will be shown at Boston University, School of Management, Auditorium 105, on September 11, 2001 at 7:30 p.m. Frontiers will be followed by Masri's earlier film,
Children of Shatila.
Mai Masri will present her own films and will participate in a Q/A period.
Must See Mai Masri's new film - Frontiers of Dreams and Fears


Mai Masri's new film, Frontiers of Dreams and Fears, will be shown at Boston University, School of Management, Auditorium 105, on September 11, 2001 at 7:30 p.m. Frontiers will be followed by Masri's earlier film,
Children of Shatila. Tickets will be sold at the door: $15, $7 for students.
Mai Masri will present her own films and will participate in a Q/A period. Lemonade/Juice reception to follow. Parking is available at the School of Management, 595 Commonwealth Ave., Boston. There is an underground parking
garage there. All cars must be out of the garage by 11 p.m. Here is a short review of Masri's new film:

For Further information please contact Elaine Hagopian at
Echagop (at) aol.com

**************************

Frontiers of Dreams and Fear
Extracts from a review by Jim Quilty (Daily Star, Lebanon, May 10, 2001)

Frontiers follows two young Palestinians through several months of their lives. Mona in the Shatila refugee camp and Manar in Bethlehem's al-Dheisha camp. Living in different camps one ruled by the extreme economic marginalization of Lebanon, the other by Israeli military and economic oppression the two girls represent variations on a theme of deprivation. But though they do have a tragic aspect, the stories aren't simply portraits of pathos. As in her earlier films focusing on kids Children of Shatila (1998) and Children of Fire (1990), Frontiers exhibits an optimism that defies the circumstances of its subjects.
Frontiers isn't simply a sequel, though, not simply a parallel snapshot of two Palestinians on either side of the border. Masri's film shoot conveniently corresponded to the Israeli flight from south Lebanon and the outbreak of the second intifada. The propitious timing has transformed Frontiers into something more moving than it might have otherwise been.

For the Palestinians, Israeli occupation of the South placed a kilometers-thick barrier on the frontier separating them. As is well-known here, the sudden evacuation reduced the border to a few strands of razor wire, making it permeable whether to bullets or words.

The change gave Palestinians on both sides of the line the opportunity to make contact for the first time in decades. Families disrupted by serial displacement had a chance to drive to the still-flimsy border fence to inquire after family members thought to be in Lebanon. Whether they involved members of the same family or not, these meetings could be heart-rending stuff even when transmitted as news footage. Such emotionally charged encounters are putty in Masri's hands, and she takes full advantage of it here. Mona and Manar, to that point only internet friends, are filmed meeting at the border fence. The encounter channels the emotional intensity of the event, making it emblematic of the plight of the Palestinians as a whole.

The emotional foundation of Frontiers isn't despair but hope. The film uses injustice the single moral imperative underlying the Palestinian condition to argue that this condition must change.

Frontiers cuts through the cynicism that ossifies in brains numbed by too much faceless violence on the evening news. In making it possible for the audience to feel, it fulfills a primary function of documentary film. Frontiers was produced in association with the Independent Television Service (ITVS) with funding provided for by the Corporation for Public Broadcasting (CPB).
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