Ali Catterall This simply could not be any worthier: the chief keywords here being South Africa; apartheid; multiculturalism. And lesbians. A richly textured 12-part epic might be constructed around that tidy grouping, but author Shamim Sarif gave us a single award-winning novel instead, based on her grandmother's recollections of 1950s Cape Town. Less agreeably, and most unusually for a writer, she has also been given free hand to script and direct her own movie adaptation. Really bad move.Fiercely independent Amina (played by the Indian-American Sheetal Sheth) literally wears the trousers as owner of a Cape Town café in 1952. She's always getting into trouble with the police for serving "blecks". She's also something of a pariah within her own prejudiced immigrant community for speaking out against the subjugation of women. One day her counterpart turns up. Miriam (Indian-Canadian Lisa Ray) is a subservient housewife, mother and shopkeeper, married to racist, chauvinist pig Omar (Parvin Dabas), who in turn is having an affair with his sister-in-law Farah (Natalie Becker) under poor Miriam's nose. Amira is smitten. The lady's ripe for turning. But will she ever persuade Miriam to shrug off her shackles and find true love? Never mind the world, this will probably end up a film unseen for the most part, but that doesn't automatically make it some kind of ghettoised gem. Like Sarif's other lesbian drama I Can't Think Straight (also featuring Sheth and Ray) this is queer cinema by default only, too mimsy and soapy a concoction to be regarded as anything other than a daytime TV movie.If the direction is flatter than a chapatti, the performances are mostly amateur hour, with cringeworthy dialogue clamouring to be heard above an hysterical din of a score; tremulous strings and fussily tinkling pianos drowning each and every soft focus scene in caramelised gloop. It's certainly a huge letdown after opening the film with Nina Simone's gorgeous rendition of 'I Wish I Knew How It Would Feel To Be Free' - all-purpose protest song and knowing shout-out to the singer's significant gay fan base.The leading ladies frantically bat their lashes at one another, but with so little chemistry between them they'd produce more sparks trying to light a cigarette with a dodgy disposable. Miriam's sexual awakening during a driving lesson is also unconvincing. "You didn't come to give me a driving lesson, did you?" Miriam hotly accuses Amina. "So why did you come?" This exchange, after they've already snogged.Most damagingly, for a film set during an era when flouting racial and gender conventions could land you on Robben Island for years, there is absolutely zero sense of danger. It's as if Sarif is so confident audiences are already up to speed with the politics (or with her novel), that she hasn't bothered with the important stuff: atmospherics, a feel for the time and place.The real drama, it seems, is going on elsewhere: a subplot involving the café's mixed-race, middle-aged co-owner Jacob (David Dennis) secretly romancing Madeleine (Grethe Fox), a white postmistress. But largely, what we're left with is a pair of total babes brushing lips. The only threat for this glamorous pair would appear to be smudged cosmetics.

digitalbabeusa Loved the film?Come discuss this film! http://movies.groups.yahoo.com/group/shamim_sarif_fans/See you there! Sariena (Digital Babe)First, let me say that I first became familiar with Shamim Sarif's work, while visiting the Philadelphia Gay Film Festival over the last few years. This will be long, as I ABSOLUTELY LOVE both films, and can't recommend them enough for some humor, realistic drama and a journey beyond any existing borders of the mind. My partner of 10 years and I have become life-long fans of Shamim's work, as this writer/director has captured our hearts and souls with relevant and poignant story lines that could serve as crossover projects for the mainstream media. I believe the latter is crucial in engaging America and the world in a dialogue of equality which transcends sexuality or gender. ***SPOILER ALERT*** I CAN'T THINK STRAIGHT- ===================== This has taken its spot among my favorite romantic comedies of all time. The soundtrack was up-tempo, fun and playful. The colors, costumes and set design where expertly integrated, and both this, and THE WORLD UNSEEN should be re-released on Blu-Ray. The look of both films is amazing and begs for hi-definition treatment. This time Shamim Sarif uses humor effectively to shed light on the cultural taboo of being in a same sex relationship. She re-casts Lisa Ray as the confident, bold and seductive Tala, working on her own business, opposite Sheetal Sheth as Leila, the shy, beautiful and insightful writer, and object of Tala's affections. Together they explore this very forbidden, but inevitable love, and find their way to each other, with each other's help. But on the way, they are aided by friends in very humorous situations, and hindered by family members, still loyal to reserved tradition. The soundtrack is virtually its own character, as it includes catchy and sexy songs ranging from ethnic to ballad, which compliment Tala and Leila's journey perfectly. The cultural taboo of being in this relationship is a relatable conundrum that many same sex couples have faced, and despite this film's focus on Jordanian and Indian cultures, the overarching theme of being threatened, disowned and shunned by family is universal and sadly, very relevant. All of the characters are funny and charming, and the dialogue is hilarious and smart, but never preachy. I found it particularly interesting how the fathers in both THE WORLD UNSEEN and I CAN'T THINK STRAIGHT were overall very supportive-another rare depiction, given the theme and cultures depicted. ***SPOILER ALERT*** THE WORLD UNSEEN: ===================== For me, this film is a stunning, visual masterpiece, based on the book of the same name. The sweeping visual landscape, and texture and layers of the setting, costumes, characters and lifestyle are simply magnificent and breathtaking. The film also masterfully captures the inhumanity, humiliation, cruelty and robbing of dignity caused by the laws of the period. It is a period piece, set in 1950's South Africa and tells the heartfelt and heart-breaking story of two women who find each other under during a chance encounter which awakens an emotional connection that ultimately unites them in heart, mind and soul. This occurs during a time period, where mixed race relationships are considered criminal, and the country has taken for granted that this should be acceptable. That is, except for those that characters that fight to revolt against this, and believe in equality. This includes Amina, the rebellious, courageous character (Sheetal Sheth) who ultimately reminds Miriam (Lisa Ray)-an oppressed and abused housewife, who has lost herself and her interests, in her "role"- that she the latter has the strength to stand on her own and be who she wants to be-personally and professionally. Both Sheetal Sheth and Lisa Ray do an incredible job of conveying their individual plights on screen-sometimes with little spoken word and an artistic journey that entrenches you into their quiet pain, caused by the situation. Their scenes are some of the most skillful, yearning and heart-wrenching I have ever seen. The story is told with such subtle and emotional complexity that I've rarely seen on film. Many feelings are conveyed with glances, the score itself, and unsaid words, which make this film incredibly powerful. Although the film leaves much implied, I was completely captivated by the power of the performances of the leads, as well as the supporting cast. I learned a great deal about the time period, as well as how much courage each character had to find within him/herself to ultimately emerge independent and dignified. Amina is playful, bold, flirty and powerful and Miriam is reserved, curious and taken with Amina and all that she represents. There is passionate chemistry between the two female leads, who ultimately risk everything to grasp that which is most important-love for each other and for life and happiness. The film has an open end, but keen viewers can deduce the outcome and will remember this powerful story forever. This is the winner of numerous awards, including the official selection at the Toronto Film Festival & London Film Festival. Do not miss this film! Again, Shamim Sarif achieves the kind of crossover appeal, whether intentional or not, that allows the universal themes of unstoppable love to trump the sometimes "hot button" issues of gender, political and sexual orientation components. Both leads and the entire supporting cast envelop us with hope, laughter and inspiration. These two films are truly must- sees and the behind the scenes extras on both DVD's are great additions. Regardless of your sexual orientation, or interest in the genres, I highly recommend these 2 pieces as examples of genius book to film transitions and films that stand on their own (I've not read the books yet), that deliver a poignant message of hope, equality, inspiration and entertainment. Enjoy!

salgreco I too, saw "The World Unseen" at the Toronto International Film Festival. What a lovely film, and a wonderful story which unfolds in a loving and natural way. A superb cast helmed by a talented director. I was also especially struck by the song during the end credits. This was an absolutely magnificent song sung with such clarity and feeling that it seemed to captivate everyone in the theatre. (No one left the theatre during the end credits - people sat back down to hear the entire song, and that was the first time I saw this happen in my 45 years of movie-going). I have a feeling that we'll be hearing more from this singer/songwriter, Leonie Casanova.

mamlukman I also saw this at the Toronto Inter. Film Festival. I came to see Lisa Ray, who was actually at the screening along with the director. What made the movie for me was Sheetal Sheth. Yes, she had a more flamboyant part than Lisa, so she had more to work with, but she blew me away. Where has she been hiding? Unbelievably gorgeous.As for the movie itself, it reinforces the theme found in Fire--don't beat up your wife or she'll turn Lesbian on you. If Indians really beat up their wives like this, they deserve to have them turn Lesbian.The police were just over the top--it made those sections almost comical, not menacing. More subtlety would have gone a long way.The restaurant looked way too much like a set, and it would have been a lot more effective if all the blacks/coloreds/Indians that were supposed to be beaten down actually looked beaten down once in a while. They looked way too happy most of the time.But these were minor quibbles. Lisa and Sheetal alone make this a good movie, whether you are Lesbian or straight.