The wide global media coverage of the film is helping to drive important conversations about gender inequality in Nigeria and beyond.
FILM WAPTRICK MOVIE
The Ford Foundation-supported film was awarded Overall Best Movie at the 2016 Africa Magic Viewers’ Choice Awards. Zara (Stephanie Okereke), a medical doctor who had a similarly traumatic childhood, meets Halima and tries to help her and other young women and girls facing similar experiences. She starts to experience continuous lack of voluntary control over her urination, and consequently, is abandoned by her husband and discriminated against in her community. Halima becomes pregnant and suffers Vesicovaginal Fistula (VVF) after child delivery.
The film centers on the story of a 13-year-old girl, Halima (Zubaida Ibrahim Fagge), whose poor uneducated parents marry her off to Sani (Tijjani Faraga), a 60-year-old man who frequently rapes her in the so-called marriage. ‘Dry’ - Nigeriaĭry is a 2014 Nigerian drama directed by Stephanie Okereke-Linus and based on true life accounts, focusing on the impacts of child marriage. 10 - we’ve put together a list of seven movies from Africa you can watch to learn more about gender-based violence. To mark the global 16 Days of Activism Against Gender-Based Violence campaign - which starts on Nov. As just one example, after watching the Oscar-winning film A Girl in the River, Pakistan’s Prime Minister Nawaz Sharif announced he would change the law on so-called “honour killings”, according to the film director Sharmeen Obaid-Chinoy.īut there are plenty of other movies too that work to highlight sexual and gender-based violence, amplifying the realities of the dangers that millions of women and girls face on a daily basis.
FILM WAPTRICK PROFESSIONAL
But on the whole, this is an over-the-top, pretentious dud, the sort of thing that should be seen only by the paid critics who then have a professional obligation and civic duty to spare all the rest of us such an irritating waste of our time.Movies can also amplify awareness on societal issues, using characters and plot to help us better understand and empathise with experiences that may not be our own. Grayzna Blecka-Kolska gives a performance that almost transcends the clichés written into her role as the quietly tipsy châtelaine, and the two young people who are the objects of the middle-aged protagonists' dirty-old-man obsessions (Gombrowicz's central plot line, if no longer Kolski's) look as if they might have been far more effectively used in some other movie, one in which they were given something to do beyond standing around and looking beautiful (which they are, it should be said). Though the plot is gratuitously confusing, meandering, and contrived, the use of a country house around which a low-intensity conflict between Germans and Polish partisans swirls obliquely is effective, with the fighting intruding suddenly into and then just as suddenly vanishing from the playing out of the protagonists' humdrum idleness and self-absorption. The sad thing is that there is some talent at work here.
In case anyone misses the point, the holocaust plot overlay involves a doomed little girl and, at the dénouement, a shift to a black-and-white background against which is displayed, in color, a talismanic link to her. The effect is glaringly contrived and (as with the far better Spielberg original) offensively trivializing. What on earth could have possessed the NY Film Festival selection committee to inflict this pretentious, boring, derivative, ugly and silly piece of third-rate filmmaking on its audience? Because it's Polish and we haven't had a lot of worthwhile Polish movies since Kieslowski? Has it come to that? The film takes Witold Gombrowicz's long-winded but intermittently fascinating classic novel and superimposes a gratuitous (and fatuous) Spielbergesque holocaust plot line, to make it all, I guess, more compelling.
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