Population–Migration–Globalization. These words form the theme of the 2010 United Nations Association Film Festival, which took place in the San Francisco Bay Area in October.
Each year the UNAFF, a non-profit organization based in Stanford, California, chooses a different theme that fits its mission of celebrating “the power of films dealing with human rights, environmental themes, population, migration, women’s issues, refugees, homelessness, racism, health, universal education, war and peace.” Many of the films present bleak stories of unrelenting poverty, suffering, and human rights abuses. It is not a festival for the faint of heart but for those willing to confront some of the shocking realities of contemporary life.
Film critic and educator Jamina Bojic founded the festival in 1998 with the Stanford Film Society and the United Nations Association Midpeninsula Chapter, a nonprofit organization. The festival, which holds the majority of its screenings at Stanford University, initially began as a way to celebrate the 50th anniversary of the signing of the Universal Declaration of Human Rights. Now in its 13th year, the 2010 festival screened a total of 60 documentaries from across the globe over a tenday period. The festival also holds year-round screenings through its Traveling Film Festival throughout the United States and abroad.
Several documentaries covered this time the theme of migration, including Climate Refugees, directed by Michael Nash, and There Once Was an Island by Briar March – documentaries that reveal the social, political, and cultural impact of global warming on local populations. Also Which Way Home, directed by Rebecca Cammisa, about the lives of migrant children from Central America and Mexico who attempt to leave their countries in search of a better life in the United States.
In Climate Refugees, UNAFF’s opening night film, U.S. director Michael Nash journeys to Indonesia, Bangladesh, Tuvalu (an island nation located halfway between Australia and Hawaii), China, and Sudan. He discovers first-hand how climate change is affecting people in those areas of the world. Nash also serves as a first-person narrator, offering his perspective as he travels to the various countries.
One of his goals was to reveal the “human face of climate change.” He interviews people who were the victims of climate change, such as a mother in Bangladesh who describes how her baby was ripped from her arms by a fast current when her home was flooded. Many of the people talk about how nature is now their enemy. Former and current U.S. government officials, United Nations and Red Cross workers, NGOs, environmentalists, and public policy organizations also get screen time. Climate Refugees points out that in Bangladesh, there are 150 million people living at sea level. So as the sea rises, serious storms occur more frequently and millions of people are forced to leave their homes. Grim statistics appear throughout the film either spoken by people interviewed or as text on screen. For example, a one-meter rise in sea level would strip Bangladesh of 40 percent of its ricegrowing land. A natural disaster would force the country to import food and between 10 to 30 million people would have to move to survive. “Climate wars” would be one of the results of food and water shortages. In fact, all the numbers presented in the film are utterly mind-boggling, for example, in 2030 years, 40-50 small islands could disappear; by 2025, 66 percent of Africa’s arable land will be gone; in 2020, 75 to 250 million people will be affected by water stress.
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