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E. Nina Rothe

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Favorite movies only need apply. Life is too short to write about what I didn't enjoy. 

Jean Whitehorse in a still from Lorna Tucker’s ‘Amá’

Jean Whitehorse in a still from Lorna Tucker’s ‘Amá’

Real American Heroines: Lorna Tucker’s ‘Amá’ kicks off the Global Health Film Festival 2018 in London

E. Nina Rothe November 21, 2018

When I spoke to Italian filmmaker Roberto Minervini in Venice, I asked why he’d made ‘What You Gonna Do When the World’s On Fire?’ His answer still haunts me today, “one of the biggest reasons I made this film is that I realized that progressive America to which I belong, has accepted a level, a threshold of tolerance which includes inequality.” Minervini then added, as a mantra that now accompanies my own daily mundane struggles as a woman “there is no more fight for equality, lesser inequality has become the new equality.” We as a society tolerate, we no longer wholeheartedly accept or deny. And we seem to be OK with tolerating a lot of human beings.

In introducing Lorna Tucker’s latest documentary ‘Amá’ I feel like I must mention my fellow Italian Minervini, because I, like him and Tucker, wear a different pair of glasses when I look at American society today. I see America through the lenses of a first generation immigrant. I don’t see Trump as the new evil, but simply a reincarnation of all that is considered to be as “American as apple pie” — institutionalized racism and the persecution of people who are different and who have the courage to remain different.

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In Film Tags Lorna Tucker, Amá, Global Health Film Festival, London, Curson, Soho, Westwood: Punk Icon Activist, Jean Whitehorse, Charon Asetoyer, Yvonne Swan, Reimert T. Ravenholt, Native American population, women's rights, USAID, Roberto Minervini, African-American
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