He returned to Tibet in 1995 to film Tibetan folk songs, and Chinese authorities arrested him, calling his work a pretext to collect sensitive material on the PRC. He was sentenced to an astonishing 18 years in prison without a fair trial. After a highly publicized world campaign for his release, that was covered in most of the world media,Ngawang was released in 2002.  His resilience in the face of adversity, earned him the Courage of Conscience Award from Peace Abbey 2002. That year he also received an Honorary Doctor of Arts Degree from Middlebury College, as well as ‘Best Act in Exile’ award from Lobsang Wangyal Productions for his musical talent. He resumed working on his film “Tibet in Song” in 2002 while he also worked for a time as special project coordinator for New York Association for New Americans (NYANA) in New York City. While he has kept the majority of the details of his experience as a political prisoner private, he has spoken at various colleges, and other venues on the issue of Tibetan music as covered in his film, and agreed to an interview by American Public Media in 2008.  He also gives occasional Tibetan music workshops in New York City where he resides. “Tibet in Song” is his first feature-length documentary. It showcases the richness of Tibetan music and the beauty of the ordinary Tibetan people, while documenting the Chinese influence on Tibet from 1949 to the present day. It will make its world premiere at the 2009 Sundance Film Festival. Ngawang is currently working on his autobiography as a former Tibetan political prisoner, and is looking for agents.

Director Statement

Through Tibetan music I can feel Tibet itself. The Tibet which I lost as a child at once becomes very real to me through the music. Tibetan folk songs are not just a form of art, they are like a precious treasure hidden under the earth. We learn through these songs everything there is to know about the Tibetan people. When you see and hear the performances of Tibetan folk music you feel the warmth of the Tibetan people. These songs have been passed down from generation to generation. They are a historical record of the Tibetan experience.

This film is not just about music, it is about the strength and determination of the Tibetan people to keep their culture alive despite losing their freedom as a nation over 60 years ago. My experience filming in Tibet, and as a former political prisoner for the making of this film, have taught me that Tibetan culture is alive in the hearts of my fellow Tibetans now as it ever was and that we will continue to work for our freedom no matter what.  I would like to show Tibet in Song to many people throughout the world. I would like to see some breakthroughs in the Tibetan movement. I would like to see Tibetans in exile taking the Tibetan movement into their daily lives until China talks to the Dalai Lama. That is my desire.

New York City Opening - Sept. 24 – Oct. 2

Ngawang Choephel will be  present at all 5:00pm & 7:10pm screenings

Cinema Village, Theater 22 East 12th Street, New York, NY

Tickets and showtimes at www.cinemavillage.com

For more info please visit: http://www.tibetinsong.com/index.html

Raoul Peck was born in Port-au-Prince, Haiti and studied film at the DFFB in Germany.  His films include Haitian Corner, Lumumba, Death of a Prophet, The Man by the Shore, Lumumba, and Sometimes in April.  In 2001, he received the Human Rights Watch Lifetime Achievement Award.

Director Statement

With this film I wanted to explore the often hidden side of power.  No doubt, an occasion for me to revisit my own political experiences in Haiti and elsewhere. What’s the final day like for a man with unrestrained power, whose supremacy has never been challenged, who is now plunging dizzyingly into a black hole of events he cannot control?

I wanted to explore what happens behind closed doors, during a tragic and unruly “farewell to arms,” when everything becomes possible and irretrievable at the same time? Redemption as well as demise. During these minute gaps in history, a person reveals crudely his true essence, his fears, and his desires—given that there is no time left for craftiness.

We might even see a little bit of ourselves in these characters. With this film, I also wanted to return to my country. I wanted to re-examine, with a Shakespearian perspective, the tragic and foolish nonsense of the past 60 years of upheaval. A battle for “democracy” which took no prisoner. Nowhere else but in Haiti has reality generated so much confusion and so many contradictions.

We chose to shoot Moloch Tropical in a unique location, the Citadelle Henry, built by King Henry Christophe at the beginning of the 19th century atop a steep mountain. With a size of approximately 100,000 square feet, it is the largest fortress in the Western Hemisphere. Perhaps, more importantly it is the indestructible symbol of the only nation in human history that was created by victorious slaves.

The single and unique time in which the trail of slavery that began in Gorée Island (another symbol) was permanently broken. But at what cost?

MOLOCH TROPICAL

Inspired by the kingdom of 19th-century king Henri-Christophe, one of the revolutionary leaders who won for Haiti its independence from French colonial rule, but set in a modern milieu, Moloch Tropical presents a fictionalized portrait of the final days marking the collapse of a regime. The hot air is thick with a tightly coiled tension at President Jean de Dieu’s palatial fortress outside Port-au-Prince. His security force rattles with civil unrest and international diplomats one by one turn their backs on the president’s summit invitation. Hobbling around his quarters, de Dieu erratically exerts scraps of control as his authority rapidly disintegrates into humiliation.

Using symbolism and an almost Shakespearean madness that reverberates across modern governments, Haitian-born auteur Raoul Peck (Lumumba) meticulously drapes the poetic across the political in a searing critique on the universal malady of absolute power corrupting absolutely. Adding to Moloch’s atmosphere, elegant cinematography by Eric Guichard richly captures the lush mountainous landscape and the opulent mise-en-scène of the historic La Citadelle Laferrière.

Special benefit screening for Handicap International.

–Roya Rastegar

The public screening is today at 3:00 pm at SVA-1.

[MOLOC] | 2009 | 107 min | Feature Narrative

Directed by: Raoul Peck

France,  Haiti

New York Premiere

Interests: Politics,  Violence

www.velvet-film.com

Beckoning for Change’s interview with director Phillipe Diaz over his latest documentary project: “The End of Poverty?”

Philippe Diaz started as a director and became a producer very early on, ending up producing more than 25 feature films. Most of these films were tackling world issues or had a socio-political background. Having majored in political philosophy and philosophy of art, he believes that movies can make a difference. He has created a mini-studio based in Los Angeles: Cinema Libre Studio, which specialized in producing and distributing socio-political films.

Narrated by Martin Sheen, “The End of Poverty?” is a daring, thought-provoking and very timely documentary by award-winning filmmaker, Philippe Diaz, revealing that poverty is not an accident. It began with military conquest, slavery and colonization that resulted in forced labor and the seizure of land and minerals. Today, global poverty has reached new levels because of unfair debt, trade and tax policies — in other words, wealthy countries exploiting the weaknesses of poor, developing countries.

The End of Poverty? asks why today 20% of the planet’s population uses 80% of its resources and consumes 30% more than the planet can regenerate? Can we really end poverty within our current economic system? Think again.

For theatre locations, show times and more information visit  http://www.theendofpoverty.com