After the unprovoked attack on the United States of America on September 11th, 2001 the entire political, cultural and social landscape of the US changed. People no longer felt safe or protected by their government. Americans could not comprehend why and how people could have such a dislike for them and the national politics. Al Qaeda took responsibility for flying planes into the World Trade Center, the Pentagon and into a field close to the town of Shanksville, PA after the passengers of the plane tried to take control. Now, more than ever before Americans look at immigrants as a threat. Taxi drivers, newspaper vendors, students, anyone having a Middle Eastern appearance suddenly have become a target: If you see an Arab acting suspiciously, say something. After the more recent attacks in Madrid and London the entire Western world has become disrupted fearing an invisible enemy.
On March 1, 2003, service and benefit functions of the U.S. Immigration and Naturalization Service (INS) transitioned into the Department of Homeland Security (DHS) as the U.S. Citizenship and Immigration Services (USCIS). USCIS is responsible for the administration of immigration and naturalization adjudication functions and establishing immigration services policies and priorities. When applying for citizenship, refugee status, immigrant visas etc. the USCIS has become the last stop in the increasingly complex process to be able to work legally in the United States.
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Director’s Statement:
The idea for this narrative comes from the influential text by Mathia Diawara “We Won’t Budge”. By situating the immigrants behind a plexiglass panel, somewhat audible but out of focus, I am attempting to make them unattractive to the audience. The first part of the film will be shot in one continuous take to enhance the feeling of boredom amongst the officers and materially contrast the wealth of the Western world. The spectator should develop a negative prejudice against the foreign immigrants that disturb the unfolding of the narrative.
The second part of the film will be shot in a different style to highlight the difference between the immigrants and Western society. The pace in this half is fast, the lighting warm and the camera handheld; a complete contrast to the initial portion of the film. It starts on Abdul-Mateen in a close-up, by himself, in the hallway outside the USCIS office. The spectator at this stage does not know where in time we have jumped, which creates a feeling that predicts what will ultimately happen to Abdul-Mateen. At first their speech is not translated. They seem self-isolating and distant. When the European girl enters the scene, subtitles begin to appear to translate the conversation of the immigrants. Through a disruption created by the European girl we hope to highlight the fact, through allegory, that the Western world often acts as a disruptive force to third world nations.
Ultimately, the film not only treats the subject of immigration in post 9/11 America, but also focuses on some of the biased perceptions and stereotypes. The goal is to initially have the audience on the side of the immigration officers, until they more fully understand what the immigrants are dealing with, thus altering their point of view, and ending with an empathetic feeling.
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Producer’s Statement:
When first hearing about the concept for this project I became intensely intrigued. I have been fortunate to have traveled extensively during my life, and have lived in America, England and Pakistan. Having spent time in developing countries during my teenage years was a huge, eye-opening experience for me. However, after the events of 9/11 and the all-consuming prejudice I found towards anyone different, especially those from a Middle Eastern country, I became rather disillusioned. In a world where there is so much poverty and war, many are trying to create a better life for themselves, and America is one of the few places where it is felt this can be achieved. However, the obstacles that many of these immigrants have to overcome are overwhelming. Besides the legal process of entering America (or the illegal process), there is also the massive barriers that have to be overcome of language and how they are perceived by Americans. This project has become a passion for me, as I feel it is a way to at least begin to break down the barriers of misconception and misunderstanding and reveal that underneath it all, we are very similar: full of the same hopes and dreams, and most truly the same fears.
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Who I'd like to meet: The story is set in the post 9/11 offices of the USCIS (United States Citizenship and Immigration Services). The narrative is split into two parts and point of views; that of the immigration clerks and that of the immigrants.
It is a Monday morning. Sarah, Marge and Ashley, the three immigration clerks, prepare themselves for another morning, another week. They have worked with each other for several years and have grown to hate each other. Day after day they wait for the line in front of them to get smaller, but it only gets bigger.
The spectator follows their conversation in one continuous shot, going from one officer to the next, with a slow camera movement. The immigrants on the other side of the plexiglass appear distant, foreign and disruptive, sometimes even arrogant when interrupting the personal conversation among the officers. Finally the camera reaches the last officer, Marge, who serves the first immigrant of the day, Abdul-Mateen, a young Sudanese man. He cautiously walks to the counter and presents his papers to file for refugee status. Marge sees a minor mistake, and recommends that he should come back another day. Abdul-Mateen has heard this before. He becomes furious and hits the counter in front of him with his hand.
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The second half of the narrative deals with the immigrants. The camera is now hand held, more immediate and the lighting is more comforting. They enter, take a seat and wait. The room fills and little groups form. There are three Indian men, two Russian men, an old Chinese couple, three Nigerian men, a Nigerian woman with her young daughter and a young European girl talking on her phone. Abdul-Mateen and Hasim, his friend, are amongst them. At first the immigrants speak in their own languages or sit silently waiting. Slowly their speech is translated in subtitles and the spectator is invited to identify with them. Although they all come from different parts of the world and different cultures, they share similar concerns. They look at the immigration officers with fear and worry. Finally Abdul-Mateen is called up to the window by Marge. The same dialogue occurs, with Marge denying him refugee status. This time the spectator can see Marge’s face, which was not visible in the earlier part, and we realize that she does not even look at Abdul-Mateen, seemingly ignoring him completely. This he has experienced many times before. In front of her Abdul-Mateen is not a person, but a case file, a number. His frustration in the totally impersonal treatment comes out. He hits the counter. The image ends here. Only sound remains and we hear Abdul-Mateen being taken down by a security guard. Hasim joins the fight. There is an obvious struggle. Finally we hear Ashley’s voice, as indifferent as always calling for the next immigrant to approach the counter and the routine is about to start again.
hey there how things going? your myspace is looking sweet! but anyways, i just downloaded some sweet new tones from www.groovytones.info for FREE! they have the coolest stuff!
Hope you're doing good. I just decided to stay in LA, so if you for some strange reason are comming to LA within the next 6 months or so, let me know, and I'll put you up with a couch and a good time with a long lost friend!
posted two new nate farrar songs from the live at southside recording... listen for nate's fuck-up in wash the air tonight...i think you may remember..he was very drunk...i think everyone was...it's still hilarious.
hey, how's everything? just wanted to remind you i'm performing on June 22, Friday in NYC! it's gonna be a "SPECIAL EVENT", so i hope you'll join me. the show is ALMOST sold out, so tickets are very limited.
hey:) what's up? i'm performing on June 22, Friday in NYC! it's gonna be a "SPECTACULAR EVENT", so i hope you'll join me. the shows are already ALMOST sold out, so tickets are limited.
Hallo Magdi! und, noch zu hause? ich werd anfang mai privatkonkurs anmelden und nach hause kommen muessen. krieg schon wieder fernweh wenn ich an zuhause denk..
einziger trost: gutes bier und gute magdi. also. zahlt sichs aus nach haus zu kommen oder bist eh ned daham?
Wunderschöne Frau? *rotwerd*
Danke für deine liebe Einladung! Ich würde dich auch sehr gern kennenlernen! Kenny hat mir viel von dir erzählt! Nur gutes ; )!
Ich hoff wir können dich in Salzburg mal besuchen!
Viele Grüße von Kenny und mir!
How's it going??? I just wanted to stop by to say that I hope you have a really great weekend.. Keep doing your thing.. Take care.. Stop by any time.. -La Vert-
