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    At the Arthouse

    Desert Flower tackles the rarely-talked-about subject of female circumcision

    Regina Scruggs
    Apr 1, 2011 | 6:00 am
    • Liya Kebede as Waris Dirie in "Desert Flower"
      Film still by Walter Wehner/National Geographic
    • Liya Kebede, left, with Waris Dirie
      Film still by Walter Wehner/National Geographic
    • Film still of Liya Kebede, left, and Sally Hawkins in "Desert Flower"
      Film still by Walter Wehner/National Geographic
    • Liya Kebede as Waris Dirie in "Desert Flower"
      Film still by Walter Wehner/National Geographic

    Desert Flower, a 2009 movie making its Houston debut today, is based on the 1999 best-seller of the same name, written by Waris Dirie with Cathleen Miller. Dirie is a Somali-born woman who fled her home country to escape an arranged marriage; she eventually became an international top model of the late '80s and early '90s.

    The movie stars Ethiopian-born Liya Kebede, herself a well-known model and actress, along with a British supporting cast of familiar names. Sally Hawkins (Happy-Go-Lucky, the current Jane Eyre), Timothy Spall (the Harry Potter films, The King's Speech), Anthony Mackie (The Adjustment Bureau, The Hurt Locker), and Juliet Stevenson (Bend It Like Beckham, Infamous) round out the impressive cast.

    So where has Desert Flower been?

    Just based on the synopsis, that cast, and the trailer, you might think it's a fairly-commercial rags-to-riches story where a poor African girl makes good in the decadent, capitalist West. Dirie, however, had more to deal with than learning the ways of a new culture. She was also the victim, at 5 years old, of the practice of female circumcision (also known as female genital mutilation), a common ritual in parts of Africa, Asia, Australia and South America. It is also practiced in the United States by immigrants from these regions.

    National Geographic Entertainment is giving Desert Flower a limited release in theaters after it played the festival circuit, primarily in Europe. (In Houston, it's playing at the Edwards Grand Palace.) Sherry Hormann, a U.S.-born filmmaker who lives and works in Germany, adapted Dirie's book for the screen and also directed. Hormann deftly handles a sensitive subject which wasn't widely discussed until recently. Although the movie is rated "R" there is no graphic depiction of the ritual; it is discussed in detail, however, so that the viewer does know just what happened to Dirie.

    So what is this practice, who does it, and why does it occur? This ancient rite of passage requires that the female genitals be partly or entirely removed or injured with the goal of inhibiting a girl's sexual feelings; it is thought this will help keep the girl "pure" before marriage. It's typically performed before puberty, often on girls between four and eight, but sometimes even younger. In certain societies there are designated women who perform this practice; sometimes they are also midwives, sometimes healers, nurses or doctors. Often the ritual is performed without anesthetic, under unhygienic circumstances.

    In the movie, Dirie, who survived this operation (many girls don't), is sold by her father in marriage at 13 to a man old enough to be her grandfather. She refuses this match and runs away, across the desert, to Mogadishu and her estranged grandmother. Eventually she is sent to London to be a maid in the residence of the Somali ambassador. When war breaks out in Somalia, the London embassy is shut down and Dirie, knowing she cannot return to her country, becomes a street person. After years of servitude as a maid, she still knows very little of London life, language, and mores.

    Yet, she learns. She's befriended by Marilyn (Hawkins), a Cockney shopgirl and aspiring dancer; they become roommates and light comedic moments occur as they get to know each other. Tall, strikingly beautiful, and (once she overcomes her language difficulties) naturally friendly, Dirie begins to be noticed by a rooming-house neighbor (Craig Parkinson), an American tourist (Mackie), and a fashion photographer (Spall), who takes her to a model-agency head (Stevenson).

    It's not a smooth ride to the top of the modeling world, however. One of the most poignant moments occurs when Dirie, not yet comfortable with English, goes to the hospital for an infection arising from her long-ago operation. A British doctor asks a Somali male nurse to translate his instructions to her, but by subtitles we see that the nurse berates her instead "for bringing shame on our people."

    Desert Flower is an entertaining film which manages to be more than just a tale of empowerment. It's the story of one woman's triumph over adversity, yes; but it's also a learning experience. One incredible fact: Although the barbaric practice of female genital mutilation has been condemned by the World Health Organzation and the United Nations, it's still commonly performed on as many as 6,000 girls per day.

    The real Waris Dirie has become a United Nations spokesperson for women's rights. On International Women's Day 2011 (March 8), Dirie stated, "In Egypt and Tunisia, the people have succeeded in overthrowing their dictators and are working on establishing democratic systems. Let's make sure that while we watch, support, and appreciate the steps taken in these countries, and hopefully in Libya soon, we do not forget to keep an eye on the situation of women in these societies. Let us not pass by this opportunity to make lasting changes and improve women's rights in North Africa and all around the world."

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    cult classic

    Performer John Cameron Mitchell celebrate 25 years of Hedwig at Houston show

    Eric Sandler
    Dec 23, 2025 | 3:30 pm
    Hedwig and the Angry Inch movie still
    Courtesy of John Cameron Mitchell
    Hedwin and the Angry Inch will celebrate its 25th anniversary in 2026.

    Next year will mark the 25th anniversary of Hedwig and the Angry Inch, the 2001 cult queer musical and directorial debut of veteran stage actor John Cameron Mitchell. First debuting in Sundance before hitting theaters later that summer, Hedwig (based on the 1998 off-Broadway play Mitchell co-wrote and starred in) became a favorite for those who like their rock musicals anarchic and androgynous.

    Mitchell will be celebrating Hedwig’s anniversary early – right here in Houston. This Sunday, December 28, the film will be shown at legendary Montrose club Numbers, and Mitchell will be there for a live director’s commentary and a post-screening live performance. The screening is one part of a day-long event for Mitchell, who will be teaching a sold-out master class at Cafe Brasil later that day.

    Local nonprofit Arthouse Houston reached out to Mitchell about revisiting Hedwig in H-Town. “I got good buddies from there,” the El Paso-born military brat, 62, tells CultureMap during a Zoom call from his New Orleans home. “My friend Amber Martin, who's from the area and who I’ve sung and DJed with for many, many years, is coming – especially for this. She used to go to Numbers as a kid. My friend Jonathan Caouette, who directed the film Tarnation, lives there. He used to go to Visions in the '80s. So, it's kind of fun to come to an old, classic club and show the film, do some songs, hang around, and do a drunk live director's commentary – or maybe stoned, depending on my feelings that day.”

    John Cameron Mitchell John Cameron Mitchell will perform at Numbers this Sunday, December 28.Courtesy of John Cameron Mitchell

    For Mitchell, revisiting Hedwig takes him back to a simpler time, when an actor/playwright could get a film about a gay, East German rocker whose signature song is about his botched sex reassignment surgery (now you know where “angry inch” comes from) financed and distributed by a major studio. Even though Hedwig flopped in theaters, it would eventually gain a cult following. Mitchell would follow it up with an even more provocative film, the 2005 ensemble comedy Shortbus, which featured actors engaging in graphic, unsimulated sex.

    “That was the last golden age of independent film in the U.S.,” he says. “It was the '90s and 2000s, which pretty much ended at the financial collapse of 2006, which coincided with the rise of the streamers, which really put the final nail in the coffin for independent film as we know it in terms of it being a viable commercial thing. So, a lot of people made fewer films. They had to have more stars. They had to have more Oscar gloss. And the habit of going to see the best-reviewed film that week just because the critics were telling you went away, of course.”

    MItchell still does the acting thing from time-to-time – in February, he’ll take over as Mary Todd Lincoln in Cole Escola’s Broadway drag hit Oh Mary!. But, these days, he;s been teaching master classes and film courses at various colleges (like his “Problemagic Cinema” course at the University of Michigan).

    Along with teaching them film history, he encourages his students to take things – whether it’s a film they want to make or a movement they want to start – in their own hands. “I'm telling my students it's like this: now is the time to create a new kind of underground film, and other things,” he says. “The big question, of course, is how do you get them out there? How do you monetize them so there can be more? I can't quite answer that, but I also know that when corporations abandon a certain form, that's the time to step up and take it back.”

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