{"id":19151,"date":"2017-09-19T16:00:00","date_gmt":"2017-09-19T20:00:00","guid":{"rendered":"http:\/\/dev.cinemapolitica.org\/?p=19151"},"modified":"2021-06-02T10:46:39","modified_gmt":"2021-06-02T14:46:39","slug":"stories-from-standing-rock-inside-a-fascist-movement-mauri-resistance-and-more-in-cps-new-fall-titles","status":"publish","type":"post","link":"https:\/\/www.cinemapolitica.org\/fr\/stories-from-standing-rock-inside-a-fascist-movement-mauri-resistance-and-more-in-cps-new-fall-titles\/","title":{"rendered":"Stories from Standing Rock, Inside a Fascist Movement, Mauri Resistance and More in CP&rsquo;s New Fall Titles"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"19151\" class=\"elementor elementor-19151 elementor-19144\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-56ef5ef elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"56ef5ef\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b6874b3\" data-id=\"b6874b3\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-40ae274 elementor-widget elementor-widget-image\" data-id=\"40ae274\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"639\" height=\"385\" src=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases.jpeg\" class=\"attachment-large size-large wp-image-19146\" alt=\"STORIES FROM STANDING ROCK, INSIDE A FASCIST MOVEMENT, MAURI RESISTANCE AND MORE IN CP\u2019S NEW FALL TITLES\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases-336x198.jpeg 336w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases-375x371.jpeg 375w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases-456x256.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2021\/05\/fallreleases.jpeg 639w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2a78dd3 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2a78dd3\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5616c52\" data-id=\"5616c52\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b89ebb8 elementor-widget elementor-widget-text-editor\" data-id=\"b89ebb8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Here in Montreal at CP Headquarters our summer days are getting shorter and the nights a little cooler. And as we prepare for brisk Autumn weather, we also prepare for another season of screening powerful and provocative political cinema. With that in mind we are delighted to announce the following new titles as part of our Fall 2017 Network acquisitions. These amazing films are now available across the CP Network, so if you have a CP local in your community, you may be seeing one of these on the big screen near you very soon.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a360069 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a360069\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-d3eb539\" data-id=\"d3eb539\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a6bbb5a elementor-widget elementor-widget-image\" data-id=\"a6bbb5a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"639\" height=\"241\" src=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk.jpeg\" class=\"attachment-large size-large wp-image-19153\" alt=\"Stills from Gul\u00eestan, Land of Roses (Zayn\u00ea Akyol) and Angry Inuk (Alethea Arnaquq-Baril)\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk-336x198.jpeg 336w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk-375x241.jpeg 375w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk-456x241.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/gulistanangryinuk.jpeg 639w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-57aa310 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"57aa310\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4c39f5c\" data-id=\"4c39f5c\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-05d3da3 elementor-widget elementor-widget-text-editor\" data-id=\"05d3da3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p class=\"Body\"><sup>Stills from Gul\u00eestan, Land of Roses (Zayn\u00ea Akyol) and Angry Inuk (Alethea Arnaquq-Baril)<\/sup><\/p><p class=\"Body\">The National Film Board of Canada is a long-time collaborator with CP, and we are consistently impressed with the hard-hitting POV documentaries our state-run production house releases year after year. For our Fall 2017 collection, we\u2019ve managed to get our hands on four outstanding titles made at the Board.\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/gulistan\">GULISTAN, LAND OF ROSES<\/a>\u00a0follows armed female guerillas from the Kurdistan Workers\u2019 Party (PKK) who defend Kurdish territory against ISIS;\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/we-cant-make-same-mistake-twice\">WE CAN\u2019T MAKE THE SAME MISTAKE TWICE<\/a>\u00a0is the newest film from legendary Abenaki filmmaker Alanis Obomsawin \u201cwho focuses her lens on the landmark discrimination case filed by the Assembly of First Nations and the Child and Family Caring Society of Canada against Indian Affairs and Northern Development Canada in 2007\u201d (NFB);\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/angry-inuk\">ANGRY INUK<\/a>\u00a0is the award-winning powerhouse advocacy doc from Inuit filmmaker Alethea Arnaquq-Baril, who in this smashing work, makes an undeniable case for traditional seal hunting and pelt harvesting in Canada\u2019s Northern territories; And lastly, another Indigenous-made NFB doc tops our Fall list as an older, but must-see core Canadian doc: Tasha Hubbard\u2019s (Nehiyaw\/Nakawe\/Metis) 2004\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/two-worlds-colliding\">TWO WORLDS COLLIDING<\/a>\u00a0chronicles the story of Darrell Night, an Indigenous man left to freeze to death by police in Saskatoon in January 2000, during -20\u00b0 C temperatures.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-5e91e82 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"5e91e82\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-939ebb9\" data-id=\"939ebb9\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f29ee27 elementor-widget elementor-widget-image\" data-id=\"f29ee27\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"639\" height=\"241\" src=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower.jpeg\" class=\"attachment-large size-large wp-image-19157\" alt=\"Stills from Oher\u00f3:kon - Under the husk (Katsisionni Fox) and Rise:Red Power (Michelle Latimer)\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower-336x198.jpeg 336w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower-375x241.jpeg 375w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower-456x241.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/oherokon_redpower.jpeg 639w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-10843ac elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"10843ac\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-f7deb3e\" data-id=\"f7deb3e\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-9e139cf elementor-widget elementor-widget-text-editor\" data-id=\"9e139cf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p class=\"Body\"><sup>Stills from\u00a0Oher\u00f3:kon\u00a0&#8211; Under the husk (Katsisionni Fox) and Rise:Red Power (Michelle Latimer)<\/sup><\/p><p class=\"Body\">Four other Indigenous works, this time independently produced, inspire reflection and courage in our new lineup. Beth Wishart Mackenzie\u2019s\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/lana-gets-her-talk\">LANA GETS HER TALK<\/a>\u00a0intimately captures Cree artist Lana Whiskeyjack as she translates into art that trauma experienced by survivors of Canada\u2019s Indian Residential School System;\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/oherokon\">OHERO:KON (UNDER THE HUSK)<\/a>\u00a0is Katsitsionni Fox\u2019s (Mohawk) beautiful 27 minute documentary about cultural resilience as she follows young Mohawk women taking part in a traditional right of passage called Oher\u00f3:kon; Michell Latimer\u2019s (M\u00e9tis\/Algonquin) stunning two-part look at the Water Protector\u2019s Camp at Standing Rock may not have as much festival play as all the non-Indigenous documentary depictions of Indigenous resistance to the Dakota Access Pipeline, but\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/red-power\">RED POWER<\/a>\u00a0&amp;\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/sacred-water\">SACRED WATER<\/a>\u00a0(STANDING ROCK PARTS 1 &amp;2) are hands down the most thoughtful, beautiful and captivating that we have seen.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-fd8bdd9 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"fd8bdd9\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-d669947\" data-id=\"d669947\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4bc32ec elementor-widget elementor-widget-image\" data-id=\"4bc32ec\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"639\" height=\"241\" src=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections.jpeg\" class=\"attachment-large size-large wp-image-19165\" alt=\"Stills from Frontera Invisible (Nico Muzi &amp; Nicol\u00e1s Richat) and Reflections: Art for an Oil Free Coast (Raincoast Conservation Foundation &amp; Strongheart Productions)\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections-336x198.jpeg 336w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections-375x241.jpeg 375w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections-456x241.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/fronterainvisible_reflections.jpeg 639w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-6211923 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6211923\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-d8077c4\" data-id=\"d8077c4\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ef2978a elementor-widget elementor-widget-text-editor\" data-id=\"ef2978a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p class=\"Body\"><sup>Stills from Frontera Invisible (Nico Muzi\u00a0&amp;\u00a0Nicol\u00e1s Richat) and Reflections: Art for an Oil Free Coast (Raincoast Conservation Foundation &amp; Strongheart Productions)<\/sup><\/p><p class=\"Body\">Turning to Indigenous resistance in another parts of the world, Kim Webb\u2019s\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/price-peace\">THE PRICE OF PEACE<\/a>\u00a0is a moving documentary about Mauri resistance to the New Zealand police state with a surprisingly hopeful conclusion;\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/frontera-invisible\">FRONTERA INVISIBLE<\/a>\u00a0(Nicol\u00e1s Richat and Nico Muzi) highlights the struggle over land and rights by Indigenous people facing the devastating palm oil industry in Colombia.<\/p><p class=\"Body\">In every batch of films we always have those that we consider a little more \u201cartsy\u201d than others \u2013 where filmmakers deploy an array of creative tools to tell a story through metaphor, imagery, allusion and more. In this camp we have the quietly devastating, yet creatively fantastic\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/inside-these-walls\">INSIDE THESE WALLS<\/a>\u00a0(Lorraine Price and Juliet Lammers), a compelling film urgently advocating for the release of Chinese-Canadian political prisoner Wang Bingzhang, founder of the Overseas Chinese Democracy Movement;\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/reflections-art-oil-free-coast\">REFLECTIONS: ART FOR AN OIL FREE COAST\u00a0<\/a>(Raincoast Conservation Foundation and Strongheart Productions) is a short advocacy doc that chronicles 50 artists who come together to advocate for Western Canada\u2019s environment and people, and against oil tankers and pipelines on the coast.<\/p><p class=\"Body\">In the politically provocative and quirky department we have Neal Livingstone\u2019s\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/100-short-stories\">100 SHORT STORIES<\/a>, a David versus Goliath tale of community action in the name of a renewable energy project staged in Atlantic Canada, despite predatory capitalism\u2019s many traps and pitfalls.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f17fcf8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"f17fcf8\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-502b569\" data-id=\"502b569\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ed66769 elementor-widget elementor-widget-image\" data-id=\"ed66769\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"639\" height=\"241\" src=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop.jpeg\" class=\"attachment-large size-large wp-image-19167\" alt=\"Stills from #Direnayol (Rusgar Buski) and Honey at the Top (Dean Puckett)\" srcset=\"https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop-334x188.jpeg 334w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop-336x198.jpeg 336w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop-375x241.jpeg 375w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop-456x241.jpeg 456w, https:\/\/www.cinemapolitica.org\/wp-content\/uploads\/2017\/09\/direnayol_honeytop.jpeg 639w\" sizes=\"(min-width:1680px) 100vw, (max-width:768px) 100vw, (max-width:530px) 100vw, 100vw\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2ded150 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2ded150\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-265d0b6\" data-id=\"265d0b6\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-8195a91 elementor-widget elementor-widget-text-editor\" data-id=\"8195a91\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"content\"><p class=\"Body\"><sup>Stills from #Direnayol (Rusgar Buski) and Honey at the Top (Dean Puckett)<\/sup><\/p><p class=\"Body\">Last but not least are three films from divergent global locations:\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/direnayol\">#DIRENAYOL<\/a>\u00a0(Rusgar Buski) follows trans and queer activists in Turkey during the 2013 Gezy Park protests;<\/p><p>Ang\u00e9lique Kourounis\u2019s brave and bold\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/golden-dawn\">GOLDEN DAWN: A PERSONAL AFFAIR<\/a>\u00a0looks unflinchingly at the inside of the fascist group Golden Dawn in Greece; and\u00a0<a href=\"https:\/\/www.cinemapolitica.org\/film\/honey-top\">HONEY AT THE TOP<\/a> (Dean Puckett) tells the inspiring story of Kenya\u2019s Sengwar forest people, who refuse eviction from their ancestral lands under pressure from the World Bank.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Cinema Politica\u2019s newest batch of independent, Indigenous and hard-hitting film is coming to a local near you.<\/p>\n","protected":false},"author":368,"featured_media":19146,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_oasis_is_in_workflow":0,"_oasis_original":0,"ep_exclude_from_search":false,"footnotes":""},"categories":[1604,1575],"tags":[],"class_list":["post-19151","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programmation","category-sur-demande"],"acf":[],"yoast_head":"<!-- This site is optimized with the 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