Versus: The Life and Films of Ken Loach is now available on the iPlayer here. Once it’s available on Youtube you’ll find it posted here on Pulse. The following video, for the time being, is the trailer.
Biographical documentary. Ken Loach reflects on his often controversial career, with comments from colleagues, friends and family.
Ken Loach’s documentary about the 1984 UK Miners Strike and the Tory government’s vicious campaign of violence which finally subdued it. The film features the miners and their families experiences told through songs, poems and other art.
The following is Ken Loach’s contribution to 11’09″01 September 11 a film in which French director Alain Brigand invited leading film makers from 11 different nations to provide their own impression of the September 11 attacks in 11 minutes, 9 seconds and one frame. Loach’s contribution won the the International Federation of Film Critics (FIPRESCI) Prize for Best Short Film.
Scottish writer Paul Laverty and British director Ken Loach issued a joint statement on December 1st (commemorating the anniversary of Rosa Park’s refusal to give up her bus seat for a white passenger) in support of Western Saharan human rights activist Aminatou Haidar. Haidar is in the third week of a hunger strike after being deported against her will by Moroccan authorities occupying her homeland. You can watch Democracy Now!’s coverage of Haidar’s plight here.
Statement concerning Sahrawi human right’s activist Aminatou Haidar
Haidar’s boarding card and Rosa Parks’s seat
On the 1st December 1955, in Montgommery, Alabama, Rosa Parks refused to obey a bus driver and give up her seat to a white passenger. On Friday the 13th of November 2009 Aminatou Haidar refused to fill out her boarding card as instructed by the authorities in Laayoun (where she lives) in Morocco controlled Western Sahara.
When we decided to pull our film Looking for Eric from the Melbourne film festival following our discovery that the festival was in part sponsored by the Israeli state we wrote to the Director Richard Moore with our detailed reasons. Continually he has dishonestly misrepresented us and does so again (Comment is Free 27th Aug ‘09) by stating that “to allow the personal politics of one film maker to proscribe a festival position…..goes against the grain of what festivals stand for.” Later “Loach’s demands were beyond the pale”. Once again Mr Moore, this decision was taken by three film makers, (director, producer, writer) not in some private abstract bubble, but after long discussion between us and in response to a call for a cultural boycott, including film festivals, from a wide spectrum of Palestinian civil society, including writers, film makers, cultural workers, human rights groups, journalists, trade unions, women’s groups, student organizations and many more besides. As Moore should know by now “The Palestine Campaign for the Academic and Cultural Boycott of Israel” (PACBI) was launched in Ramallah in April 2004, and its aims, reasons, and constituent parts are widely available on the net. This in turn is part of a much wider international movement for “Boycott, Divestment, and Sanction” (B. D. S.) against the Israeli State.
The boycott, divestment, and sanctions (BDS) movement against Israel continues to gain leverage every day as more people become aware of Israel’s atrocities. Many argue that the BDS movement must penetrate every aspect of society for it to be fully effective at encouraging people to demand that Israel halt its policies of ethnic cleansing and apartheid against Palestinians. The Edinburgh International Film Festival (EIFF) has accordingly agreed to return funds provided by the Israeli Embassy to finance the visit of Israeli filmmaker Tali Shalom-Ezer. While Ginnie Atkinson from the EIFF continues to insist that the decision was not politically motivated, she prefaces her explanation for the move by stating that: