Conversations Across the Bosphorous

Jeanne C. Finley

1995 | 00:41:45 | United States | English | Color | Mono |

Collection: Single Titles

Tags: Religion/Spirituality

Conversations Across the Bosphorous intertwines the narratives of two Muslim women from Instanbul, Mine and Gokcen, who demonstrate through poetic voices how their relationship to faith has shaped and determined their personal lives. Set on the banks of the Bosphorous, the narrow waterway that divides the the Asian and European continents, Conversations suggests that the relationship of personal faith to cultural and political struggles is one of the most critical issues in both the Islamic and Christian worlds. In conjunction with evocative visual imagery, sound, and lively debate, these narratives evaluate the possibility of continued peaceful co-existence between groups of opposing ideologies in a relentless urban landscape. 

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Premiere


1995

Exhibitions + Festivals

Dallas Video Festival, 1995

Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung