‘SRI LANKA’S REBEL WIFE’ SHORTLISTED FOR AWARD
‘Sri Lanka’s Rebel Wife’ is shortlisted for best documentary film, alongside major international broadcasters, at the DIG Investigative Documentary Film Awards, Modena, Italy, September 2022.
“This documentary by British-Sri Lankan filmmaker Kannan Arunasalam follows Tamil politician and human rights activist Ananthy Sasitharan as she continues her fight to seek justice for her forcibly disappeared husband. The Tamil Tigers surrendered to government forces at the end of Sri Lanka’s civil war in 2009. Ananthy’s husband, Elilan, was one of them. He was never seen again. Ananthy stands fearless in her bid to find out what happened to her husband and thousands of others who went missing. Through her story this reportage shines a light on the issue of enforced disappearances in Sri Lanka”.
“This documentary by British-Sri Lankan filmmaker Kannan Arunasalam follows Tamil politician and human rights activist Ananthy Sasitharan as she continues her fight to seek justice for her forcibly disappeared husband. The Tamil Tigers surrendered to government forces at the end of Sri Lanka’s civil war in 2009. Ananthy’s husband, Elilan, was one of them. He was never seen again. Ananthy stands fearless in her bid to find out what happened to her husband and thousands of others who went missing. Through her story this reportage shines a light on the issue of enforced disappearances in Sri Lanka”.
‘WE LOVE WE SELF UP HERE’ wins best film
Winner of best documentary film, Society of Architectural Historians, April 2023. The SAH Award for Film was established in 2013 to recognise annually the most distinguished work of film on the history of the built environment. From the judges’ citation: “‘We Love Self Up Here’ reflects the seismic shifts going on in architectural scholarship today. The contemplative film demonstrates the potential of architectural history to address complex issues of race, globalization, work, class, migration, and community. Buoyed by a musical score attuned to silences and light, the film invites viewers to listen, probe, and linger. It builds on an improvisational cinéma vérité tradition that effectively rejects conventional documentary clichés.”
