The Creator: A Film That Explores Alan Turing’s Enduring Question
by Susan Leem, associate producer
This week’s show with physicist Janna Levin spends a great deal of time discussing her novel about Alan Turing. Tonight, Ms. Levin is helping launch a short film about the legacy of the computer scientist and code breaker called The Creator, which makes its world premiere at the World Science Festival:
"[it] follows sentient computers from the future on a mystical odyssey to discover their creator: legendary computer scientist Alan Turing. Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike."
A Tight Focus on the Spiritual Side of Transitioning
The documentary Rites of Passage by Jeff Roy follows a 42-year-old practicing Muslim and Indian transgender to Bangkok for gender reassignment surgery and puts her Islamic faith and ethnic identity at the center of the journey.
by Emily Frost, guest contributor
When Jeff Roy first met Maya Jafer in Los Angeles, he had prepared a long list of questions. But he barely got in one; Jafer had finally found someone with whom she could share her story.
Ms. Jafer, a 42-year-old transgender woman and a practicing Muslim from India, spent the next hours detailing a cultural and religious background that never accepted her and describes a personal journey full of upheaval. Mr. Roy, who had never made a film, decided Jafer’s story needed to be told.
Rites of Passage is all about the journey. The metaphor is central to the documentary. Before the film begins, Ms. Jafer has been on an internal voyage during two years of hormonal and psychological therapy. In the opening scene, she is moving again.
Without any explanation, the viewer is thrust into an airport in Thailand, the only place where she can afford gender reassignment surgery. The harsh lighting and close-up shots make it feel as though we, too, have been on the impossibly long flight from Los Angeles. The director favors immediacy and honesty above all else, shooting with a cinéma vérité style.
Ms. Jafer rarely needs prodding to open up. She views the camera as a chance to share wry and self-deprecating commentary. As she and a friend of the director’s, whom she just met, taxi to a nighttime shopping area, she discusses a sexual massage. There’s lightness in how she addresses this stranger as she tells him “she hasn’t had sex in two years,” but, after the surgery, men will be all over her. She’s basking in the liberation of her decision. There’s no turning back.
The film benefits from its tight focus on Ms. Jafer. These opening confessions hook the viewer. And lest the audience think the trip will be all light-hearted quips and high jinx, Mr. Roy cuts to the heart of the matter, inserting a climatic scene early in the film.
Riding in a taxi through congested streets, Ms. Jafer speaks directly to the camera: “I have no one to talk to at all,” she cries, “all I have is God.” This may be the most intense period of her life, a turbulent mix of dread and anticipation. Though Mr. Roy is filming, he’s beyond her reach. Jafer is alone.
Here’s where Mr. Roy’s film strikes out on an independent path. Other American documentaries have focused on the enormity of transitioning from male to female or vice versa. They delve deep into the physical and social side of the transition. But what about the spiritual side? The tendency is to think of transgender or transsexual people as progressive and, by extension, secular. But Mr. Roy puts religion and ethnic identity at the heart of Ms. Jafer’s journey.
In the taxi, she begins to pray. The prayer has a soothing power, but Ms. Jafer’s trembling voice bespeaks the fear and anxiety washing over her.
Prayer and her faith are the only connections she still shares with her Indian and ultra-orthodox Muslim family. Her father is devout, and was also abusive. As a child she was awoken early in the morning, beaten, and ordered to pray. “How would you find love for God in that way?” she asks, sweeping tears from her face, trying to preserve her black eyeliner and mascara. It took Ms. Jafer many years to create her own relationship with God, separate from what she knew as a child. Here, again, the director lets the camera roll, and the uninterrupted scenes of Ms. Jafer struggling to regain composure don’t seem out of place with the “along for the ride” quality of the film.
Early on, the film establishes the stakes are high. “If it were not for God and spirituality, I would not be alive today,” Ms. Jafer says, pressing the palm of her hand to her forehead, her yellow headscarf slipping slightly. There was a time when she realized her choice was transitioning or suicide.
God plays a huge part in her decision to live — and to transition. Ms. Jafer pushes aside the temptation to curse God for giving her the wrong physical body. As the taxi pushes forward, she works through her distress, the camera tight on her face, knotted with tension.
The film is intentionally short. Mr. Roy trimmed the fat so moments like those in the taxi stand out, but it’s hard not to wish to see more of Ms. Jafer getting from point A to point B in Bangkok. In a later scene, she sits with a group of Thai men, sipping her first ever glass of wine and eating a bowl of long, steamy noodles. How did she get there and who are these men? They barely seem to know each other.
Back at the hotel, the film shows Ms. Jafer dancing in the dark, losing herself to trance music. She drapes herself across the couch, rises, and spins around her long, black wavy hair. Mr. Roy illustrates her moment of release — a respite from her direct confessional approach to the camera.
After the wine and the dancing, the film moves back to reality. Ms. Jafer, brow furrowed, consults graphic anatomical photos as a Thai doctor describes how the surgery works. The filmmaker’s choice not to interview doctors or nurses helps capture Ms. Jafer’s disorientation, as does his quick and choppy editing style.
Mr. Roy stays in raw mode in the next montage. Ms. Jafer has her photo taken and is shown nude from the waist up, her new breasts exposed. Her red toenail polish is removed, her genitals are shaved, and her playfulness is gone. She’s wearing a blue hospital shower cap and murmuring prayers, prone on a gurney and quietly weeping.
The film closes as it began, with movement — and with the audience thrown into the middle of things. It feels like a suspense movie. Kudos to Jeff Roy for transforming what could have been a very talky documentary into a film full of action. In the final shots, the camera angle is low, the world seen through Ms. Jafer’s eyes — the neon lights glaring down, the anonymous Thai nurses moving efficiently — and then the doors of the operating room swing shut.
"Rites of Passage" screens at the Palm Beach International Film Festival on April 15 and at the Minneapolis-St. Paul International Film Festival on April 21 and 26. The full version, “Mohammed to Maya,” will connect with Jafer after the operation and will premiere in Mumbai at the Kashish Mumbai International Queer Film Festival from May 23–27. A special preview screening of “Mohammed to Maya” will be held on May 1st at Metropolitan Community Church in Los Angeles, with a question and answer session with Jeff Roy and Maya Jafer.
Emily Frost is a radio reporter and online journalist. She is an Annenberg Fellow at USC’s Annenberg Graduate School for Journalism and an executive producer and host at Annenberg Radio News.
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The Offering: A Sculptural Site Intervention
Trent Gilliss, senior editor
Meditation and contemplation take many forms. Often we (at least I do) think of this act of introspection and focus as being a peaceful, tranquil experience where the noise of machinery recedes to make way for internal silence and harmony. But, Australian artist Robbie Rowlands' creative vision saddles up those moments of sitting and evaluating with the harmonious execution of circular saws and hammers. They are more than instruments of delivery; they are the yogis, to some extent:
"The cut, for me, is so violent. Well, not violent. It’s incredibly tense. That’s why working with the power tools is quite crucial to the work, because, it demands your full attention. You have to have full concentration."
Rowlands makes this point in the film above, which documents his dissection of a single story, clapboard church and community hall in Dandenong, Victoria originally built in 1904. Described as a “sculptural site intervention,” The Offering uses only the materials contained within the structure itself to create the installation.
And, for the observer, the exposed layers of history reveal symbols and moments in time worthy of introspection. History becomes the meditative center. And, once again for a brief while, this church becomes an anchor in its community — and a spiritual center worth meditating upon.
Update (June 2, 2010): I just happened upon this radio documentary from ABC Radio National about The Offering. Aside from the visual, what differentiates this piece from above is its inclusion of residents who used to inhabit the space — from a member of a Hindu religious group to a man who used to take dance lessons there. Well worth a listen.
Darwin and Creation
Andy Dayton, associate web producer
This is the trailer for Creation, a biopic about Charles Darwin that recently made a splash at the Toronto International Film Festival. I noted the movie earlier in September partially because of the debate surrounding it. The film was having trouble finding a U.S. distributor, and its producer Jeremy Thomas stated it was "too controversial for religious America."
The film starts after the death of Darwin’s 10-year-old daughter, Annie, and focuses on the period where he wrote his seminal book on the theory of evolution, On the Origin of Species. According to the film’s synopsis, “Darwin is torn between his love for his deeply religious wife and his own growing belief in a world where God has no place.”
This made me think of Krista’s conversation with Darwin biographer James Moore for our program "Evolution and Wonder." At one point in the interview, Moore says about Darwin:
Always, I believe, until his dying day, at least half of him believed in God. He’d said he deserved to be called an agnostic. But he did make the point later in life that, “When I wrote The Origin of Species, my faith in God was as strong as that of a bishop.”
I’m interested to see how Creation's account of Darwin's life compares to Moore's: does it reflect the same understanding of Darwin and his struggle, or is it a slightly different story?
And, it looks like I won’t have to cross the border to find out. A few weeks ago the film was picked up by Newmarket Films for U.S. distribution. Interestingly enough, Newmarket was also the distributor for The Passion of the Christ — perhaps they’re well-equipped to handle a potentially controversial film.