2015 Greenhouse Retrospective

The first-ever retrospective of Greenhouse films took place at the Jacob Burns Film Center, May 1-6, 2015. The opening film was the Iranian film 'Those who Said No' by past Greenhouse participants Nima Sarvestani.

Dorit InbarSigal Yehuda and Bruni Burres who attended the opening night, presented the Greenhouse program, and the evening ended with a presentation of the project 'Blue ID' by Turkish filmmakers Burcu Melekoglu and Vuslat Karan, who were participating in the Greenhouse 2014-2015 program at the time of the retrospective.


Those Who Said No (Retrospective Opening Night) 

Nima Sarvestani / Iran, (2010)

Those Who Said No is a story about the search for justice and closure after what is known as “The Bloody Decade” in Iran.
The film examines the fallout of a fatwah issued by Ayatollah Khomeini in 1988, which ordered the execution of all political prisoners. The perpetrators of the massacre have never been prosecuted.
In 2013, a group of courageous Iranians worked to bring these crimes to light. The film follows the course of the Iran Tribunal in The Hague Court of Justice, interspersing these moments with personal narratives about survival, resilience, and the quest for justice. By weaving together these two tales, Those Who Said No makes a powerful statement about the act of bearing witness. 



Abeer Zeibak Haddad / Israel & Palestine, 2011

Duma(dolls in Arabic) is based on stories of sexual abuse in Arab society in Israel. Abeer, the creator of a puppet theater show that deals with the subject of sexual abuse during childhood, decides to take her camera and journey from the north to the south of the country and document women who have experienced sexual violence. In her journey she meets four women, who dare to reveal the sexual abuse they endured in their close circle of family and friends. They all look for a way to express their pain and to break the silence that was imposed on them by their relatives and by society.


The Invisible Men 

Yariv Mozer / Israel, 2012

The Invisible Men tells the untold story of persecuted gay Palestinians, who have run away from their families and are now hiding illegally in Tel Aviv. Their stories are told through the film's heroes: Louie, 32 years old, a gay Palestinian who has been hiding in Tel Aviv for the past 8 years; Abdu, 24 years old, who was exposed as gay in Ramallah and then accused of espionage and tortured by Palestinian security forces; Faris, 23 years old, who escaped to Tel Aviv from the West Bank after his family tried to kill him. Their only chance for survival is to seek asylum outside Israel and Palestine and leave their homelands forever behind.


Not Quite the Taliban 

Fadi Hindash / Jordan, 2009

Not Quite the Taliban is a documentary about one man's frustration with his generation of young "modern" Arabs who appear Western, but are more conservative than the traditional Arabs. While there are many films about hypocrisy in the Middle East made by Western filmmakers, "Not Quite the Taliban" is the first to be made by an Arab who has put himself on the line by speaking up about the taboos. The film chronicles the journey of Fadi, a young Arab filmmaker, as he makes a documentary about the double standards in Dubai, the place he's called home all his life and the flagship of Arab modernity, where covered women walk side by side with call girls everyone pretends aren't there. It is a contradictory world of Arabs whose lives revolve around work, shopping and clubbing. Educated Arabs who laugh at their inability to construct one full sentence in Arabic but use their traditions as an excuse to deny what happens behind closed doors. Fadi Hindash confronts the contemporary generation of 'westernized' Arabs with a taboo. What happens when you reveal your sexual orientation to those 'modern' Arabs? 


Farewell Herr Schwarz

Yael Reuveny / Israel, 2013

Perhaps it's true that things can change in a day. That the outcome of a decision made by a brother and sister in 1945 can affect the course of whole lives, for decades to come. Farewell, Herr Schwarz (2013) is an epic documentary about stories that can be inherited like the color of your eyes. A personal journey between Israel and Germany: 1 missed-meeting, 2 families, 3 generations. 


10949 Femmes 

Nassima Guessoum / Algeria, 2014

Algerian women remember their youth when they joined the rebels during the Algerian war.
In Algeria I meet Nassima Hablal, a forgotten heroine of the Revolution. She was the secretary of the political head of the FLN, National Front of Liberation. Like a grandmother with her granddaughter, the old charming lady, tells me her story of a woman in the war, her fight for an independent Algeria. Every year I come back to visit her.


On the Way to School 

Orhan Eskiköy, Ozgur Dogan / Turkey, 2008

One year in the life of a Turkish teacher, teaching the Turkish language to Kurdish children in a remote village in Turkey. The children can't speak Turkish, the teacher can't speak Kurdish and is forced to become an exile in his own country.
On the Way to School is a film about a Turkish teacher who is alone in a village as an authority of the state, and about his interaction with the Kurdish children who have to learn Turkish. The film witnesses the communication problem emphasizing the loneliness of a teacher in a different community and culture; and the changes brought up by his presence into this different community during one year. The film chronicles one school year, starting from September 2007 until the departure of the teacher for summer holiday in June 2008. During this period, they begin to know and understand each other mutually and slowly. 


Five Broken Cameras 

Guy Davidi and Emad Burnat / Israel & Palestine, 2012

When his son Gibreel is born, Emad, a Palestinian villager, gets his first camera. In his village - Bil'in, a separation barrier is being built on the villagers' lands, which the villagers begin to resist. Throughout the years Emad films the struggle lead by two of his friends while also filming life with his son growing. Very soon this struggle affects his life. Daily arrests and night raids scare his family; his friends, brothers and even Emad are either shot or arrested. One camera after another is shot or smashed. And with each camera a part of Emad's story unfolds.


In the Name of the Brother 

Youssef Ait Mansou / Morocco, 2013

My younger brother Mustapha disappeared for one years. He cut any contact with us, his family. We lived then in fear and distress. One evening, after his long absence, my mother received a phone call. He had settled down in the Madrasa Nahlia, a Koranic school of religious teaching in the mountains, 90 km from Marrakesh. We went to meet him, my mother and I. I will tell our story through a monologue in the form of a letter, from me to my brother, evoking his absence whilst capturing childhood memories, and through observing his current life, and recounting the simplicity, austerity and serenity of the Madrasa Nahlia.


This is my Land 

Tamara Erde / Israel, 2014

How do the Palestinian and Israeli (Arab and Jewish) education systems teach the history of their nations? The film follows several Israeli and Palestinian teachers over one academic year. Through observing their exchanges and confrontations with students, debates with the ministries curriculum and its restrictions, the viewers obtain an intimate glimpse into the profound and long lasting effect that the Israeli/Palestinian conflict transmits onto the next generation.


The opening night of the retrospective ended with a presentation of the project 'Blue ID' by Turkish filmmakers Burcu Melekoglu and Vuslat Karan, who were participating in the Greenhouse Program at the time of the retrospective. At the retrospective was also held a screening of the work in progress 'The Dead Can't Vote' by Sarra Abidi from Tunisia, who participated in the 2012 Greenhouse program.

Blue ID 

Burcu Melekoglu and Vuslat Karan / Turkey, 2014

A transgender man struggles with self-realization and acceptance in traditional society of Turkey. Constrained by identification cards color-coded for gender, will he finally be considered for a Blue ID? 


The Dead can't Vote 

Sarra Abidi / Tunisia, 2012 (with Q&A/Discussion)

Away from the revolutionary euphoria, the director returns to her hometown Gabes, both big city and symbol of the richness of the Tunisian South, to shoot fledgling democracy facing the problem of chemical pollution.