It should come as no surprise to anyone familiar with the culture of South Asian immigrants that both ambition and identity do a similar dance, often with greater intensity, and is among the latest variations on a familiar American story.
One could argue that the only place where the revolutions of the Arab Spring have actually made a change for the better is Tunisia. The North African country has had its own issues since 2011, but perhaps Tunisia's downturn has much to do with its close proximity to terror hotbed Libya.
Perhaps what feeds this genius, this champion of communication and understanding among us, is that he comprehends the power of one. It is a power we often forget -- I know I do -- the ability to change the world, one small, tiny, at times seemingly insignificant action at a time.
Venice. Telluride. Toronto. Film festival season is in full effect with Oscar buzz already reverberating across the air waves and the internet. Every year at this time, movie makers all across the globe reveal new big screen narratives that reflect on, shape and shift culture.
No, you didn't just wake up in The Twilight Zone, to find that the last six months of your life are completely unaccounted for. The title above refers to a film, one screening at this year's Venice Film Festival, directed by Iranian filmmaker Vahid Jalilvand.
I'm angry. As a woman film blogger, I need twice as much effort and talent to get a quarter of the recognition that my male counterparts receive. I notice it on a daily basis and I've grown to really hate it.
To describe Labour of Love would prove a personal labor in futility. But what I can say is that it is a film richly shot, beautifully written and acted so organically, I simply felt overwhelmed by its message for days after viewing it.
Among the greatest of teachers, I personally hold Amos Gitai in a top position. His work -- such as his latest masterpiece Tsili -- is insightful, groundbreaking, thought-provoking, strong, full of emotions and always entertaining. The best example of cinema with a conscience.
I found Ghesseha touching, insightful, romantic in parts, jarring in others, but always human. I could connect to the characters, I found my body tense up during confrontations, relax at the resolutions, and love.
If there is a lesson to be learned from the nine short films that blend to create the magnificent Words with Gods it is that organized religion is not the most direct way to communicate with our higher being.
Don't come to Melbourne expecting over-the-top displays to deal with the tragedy at hand. The film is perfect for those of us who recognize that most of life, even in moments of drama, is lived in shades of grey, not black and white.