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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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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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