these to my every where he'd be, our worries of increased, but wages have remained the same. and the last 10 years since april, the 19th millions of indians has been costing that. but it's in the multi phase election that has spent $4.00 to $4.00 days. from 1st time voters to senior citizens. people have bet sold us a v, a heat wave to exercise the democratic rights, unemployment and inflation on major concerns. you may, may i, the issues are rising prices and unemployment. there is no work in 2014 the b j piece with national elections with a campaign promising good days for indians. this time, the campaign has been divisive as moody seats, a search to. he's been criticized for describing members of the muslim minority community. as in full traces valid, i'm going to use the da da da da, the early a government cit. the muslims will have the rise over the results of the country. what does this mean? this means they will gather all the wealth and give it to the people who have more

children. they will distribute it among them from craters. the b j. p is up against a coalition fronted by the indian national congress party. it has accused the governing party of one thing to destroy in this constitution. if it wins by a landslide, but a don monthly, nay. the prime minister and shaw and other employees have decided that if they win these elections, they will to and throw the indian constitution. analysts say that rhetoric is making many votes, has questioned their support for parties. this is the 1st collection where people are being forced to confront the secular credentials of this country and whether the ruling party represents the secular credentials that have defined this country . turned out in the pulse so far has been lower than in 2019 votes will be counted and results announced on june the 4th until then moody is living on an island in southern india saying his taking time out to meditate my live,

elizabeth ultra 0 and authorities in eastern india say at least 14 people have died from a heat stroke since thursday, with dozens more in hospital. the record breaking heat wave has also try to get a water shortage in parts of indian capital, daily temperatures of sort above $49.00 degrees celsius. in recent base and that is in use for now on out is era as always more on our website at all, just 0. don't com and i'll be back with more use are right after studio be and scripted to stay with us on all the on just a 2nd, mexico's head to the poles, to elect a new president with 2 leading female candidates. the country is points to make history. what can the new leader tackle escalating violence color to

mexico presidential election on al jazeera as a young student were, you still had the dictates of shipping haiti, and for most students abroad, all goal was to go back to 80 and fight. i am a reluctant memoir arrest. i'd say got to be a good sign because of do you ever encounter an enthusiastic memory so you should run the other direction, the people's to the closer the oldest and the roots of violence and the quality these people to be themselves are so low. they really don't think my name is wrong take and i am a fell make bone in haiti. i grew up in congo, france, germany and the united states. the

species is i point to my camera where all those prefer not to racism, cornelius, genocide, but also resistance the i write about what it needs to be american and about the ordinary people who get caught up in the us towards the family friend. and um, when i was a child, i'm the attendance officer professor with i have much of my life trying to forget whether or not to, to lose the country. the

of you know, it's in for your own transportation. i've always felt like a spine in 2 forms. that's part of the politics of memory. is history important to remember? and the things were to difficult the rent to view novels and rarely felt so at home. what admire most about yet is yours. non deduct, equate arthritis, knowledge onto payments and politics together. longmeyer bubble for his ability to blend art and politics seamlessly. seasonal tour. the style is a politic subcommittee. i am keen to talk to you about what's going on in the was today. i'm excited to talk to real about how art can challenge the damaged world we live in. so what are the stories we tell ourselves about also? and how do we base our past to change our future,

the rule and just so delighted to be here with you as a long time and buyer of your work. the last work of yours that i saw was exterminate all the routes, which is a 4 hour documentary about colonization genocide and white supremacy. and the amazing thing was that you were able to not only just make this but make this and have a broadcast on hbo, which is not normally the home i would imagine of doctor fisheries, about quantization and white supremacy. how hard has it been for you to pursue your personal vision as an artist over the decades? for many, many years i, i used to say that i do, gary, yes, telling,

making basically find some way, some people already to work with me or to fund my movies, hit and leave. and the decision i to very early in my life was that i would only make films that i really want to, to make. i never made a film because i had to earn a living. as a young student, i was 17 when i went to study in berlin, that was in 73. we still had the dictatorship in haiti. and for most students abroad, you know, all goal was to go back to 80 and fight to. so for some reason politics was, you know, all dna and i transmit that to my work. you know that every film is a possible last film. so i never hold back my punches. i always thought you have one shot, so make it work. yeah, i take that very personally because i try to do that in my own work as well. it's

been very important for me to do exactly what you said, come to the realization, which would take me decades to come to this realization that i had to write just for myself. but i wanted to ask you something. i remember reading your 1st novel. it strikes me as that's a 1st i really that i thought, well, an american writer, but not totally an american, but who understand extremely profoundly what america is and also be totally on my side. you know? so at what point that moment came to you to find the way to be exactly in between and in all in both completely. oh, i did grow up with a sense of being always good inside and outside of every location that i found myself myself in because of my refugee background coming from vietnam to the united states. and i think i had an intellectual understanding of what the country was and

of what i thought my art should be. but i didn't have the artistic capacity to realize that vision. so it would take me many years of struggle of, of, of writing different things before i was able to write the sympathize. and i felt that the sympathizer was really that moment when i could start bringing my artistic vision closer to my political vision of what america is. but also what function the artist can occupy relative to such a massive idea as that mythology that americans have built around this notion of the country, which they've exported all over the world. and then also deeply internal law ised within themselves. nothing is why i feel like we are sympathetic to each of his projects. there's some overlap in these colonial histories that have produced us. and was that something you were already understanding, even before you left to go overseas? i think i had to build it. as i went, i went to call go when i was 8,

my parents went to work for the u. n. in congo and congo was my, my line, you know, i, my friends were communities belgian as well, but i felt at home. and when i went to france it was the same. but what i also, i think i learned was to very early on to the construct you would watch a film on tarzan and then you go to congo and you realize that well, there are no tribes dancing around the app played, you know, and, and as an 8 year old, it's a, it's a shock because all your emails, your africa is in that hollywood movie. and so a very early, i didn't trust everything i was reading or everything i was watching or assuming i'm on the screen. i remember reading your book to sympathize, a having to get me is one to communities. another one, you know, with the us,

all me having an ideological debate, you know, and not being afraid to even use the word class struggle communities in the us environment. what does something very conscious for you? absolutely. the pressure placed upon someone who is seen as a minority for whatever reason is always speak to the center of power and that law, or to speak to the center of power so immense that i think for many people that is internalized. and so when i wrote the supervisor, it was actually very important to construct the novel, as you said, as of the between getting these people and acknowledging that just because we're getting these people, it doesn't mean we think the same feel the same to see the world the same way, but that because we're talking to each other, we don't have to translate our world views for the benefit of the center of power, whether it's united states or whether it's france or whether it's other of imperial countries and perspectives. and i feel that in your films very,

very strongly that there's a, certainly a consciousness of colonial history and the way that it affects how stories are told, but also how it affects the story tellers who come out of these colonized situations . there's stuff to accept that older people could determine who you are. you know, that's something i also learned very early in. baldwin is somebody who would always say, i cancel it, anybody determine, i know why i'm, because i'm in construction. i am something i don't know even so who are you to dictate me, you know, where i stand in the history of the world. and that's why i can imagine the debate with your editor pages and pages of to get the means of talking with each other and talking about the history and forgetting the central world. it's rare nowadays to be able to to do that. when i sent out the supervisor to editors, it was rejected by 13 out of 14 editors,

and the 13 editors were americans. the 14th editor, who bought it was actually english cambridge graduate. slavic studies major read red russian and marks us theory and himself. as i discovered was of mixed race background with an indian malaysian mother. and he actually did not question the 22 very mean sides talking to each other, i think because he understood personally and intellectually the very histories that were discussing. and you know, you were talking about baldwin and baldwin was the subject of, i'm not your negro. this is really powerful documentary about baldwin's work. and his influence and baldwin is probably best remembered for his writing from the forty's through the sixty's. but, but also still resin in today because baldwin's political, personal, philosophical insights about race, colonialism, white supremacy. they have not gone out of date. and i find that very inspiring, but it's also rather discouraging because things have not changed that much in 60 or 70 years. are you depressed or do you find it energizing that there was like

baldwin that yeah, people ask me that question then the quick and so i said i can't afford to be depressed. the world in front of us is a big question mark. and when i was younger, i would say yes, it's a question well, but we all collective, we can fight against it. but today, i don't see the structure who helped me find my way. and on every level within the society, we can say that the unions have the same power. they used to have every institution that had the youth organization and the elders were important. you know, i was educated by my elders nowadays anybody have access to everything. so even the notion of the eldest disappeared, i was very reinforced, you're much younger than i, but that you still talk from the slowly point of view of say,

a for no. baldwin, those with steel, your reference, you yourself, brought up unions, movements. it's very rare for me to have conversations with artist writers in the united states where that ever comes up. the idea of politics beyond the representational sense, if you're in the united states or maybe here as well. when writers talk about politics are talking more about are we included, are we, are we represented, or our stories being told, our voice is being heard. all of which is important, but not politics in the sense as, as you mentioned earlier, class struggle mass movements of people. and for me, the reason why i turn to people like baldwin says the central to boys and other writers and intellectuals is because i can see in their work that they had artistic visions about themselves as biters, but also about themselves as thinkers and as activists. and as people who were parts of larger revolutionary struggles and movements,

that's how i see myself for me. the d. mythologized thing of white supremacy and colonial ideologies has been a lifelong project. i would touch to something you said within that which was not to separate the fact to be a not just a and inactive is all to be engage in the society you leave with for me that was never to be separated. one, give the legitimate, the to the older to always question, you know, while you, what are you, what is your place in society and what is your role? and i always saw myself as privilege. so, and an additional insight meant to do something that grapple with the critical, the question of privilege because i don't think it's healthy to feel guilty about one's privilege, but it is healthy to be aware of it. and then for me as a writer to think about, what can i do with that privilege? and to think that when i wrote something like

a supervisor and it became successful, it was also because these literary and political movements had come before me. and through decades of struggle had created in a space and opening for someone like me in my novel to, to come through. and the artist who goes around believing in their own genius to me is a very, very, very some person, in some ways to be a filmmaker has to be engaged inevitably with some degree of collaboration and the economic machinery of, of making movies. how does one uncompromising when there's so many other people involved? once art, well, you have to find the right people because they exist. when i study cinema in berlin, going to work in the tv station was being a traitor, because you joined the establishment. and i was fighting with my, my, some of my colleagues at the time, say, but while you're making films for, you know, if you don't go where the people are watching and that's something i always kept

all my life is to make no compromise a. but to go where the largest audience could be, you know, to make my film accessible. there's a way not to make compromise and find the right thing and shares to finance real field. that's, that's the advantage of democracy is that democracy in order to justify itself need to leave, you know, places where people like me can go and you just have to find them and know enough people that you know, are in position of power, but that has enough bad conscience to to come join me, but it's always a choice. you have to be conscious of it because the, it's easy to accept the project and you say, well, i have the money to say. so i've been saying, but usually it's not true if, if you don't have all the keys in your hand, if you don't make the editorials choices and the final cut to you basically,

you know, don't own your whatever the work you do. we will end this section on that optimistic note that there are openings for those who are uncompromising and now we're going to take some questions from the audience. so please raise your hand. i see a gentleman over there. so if you are a champion of just regular church or can you give you a perspective on the role translated zit, the music teacher and desperate to get them? is it that your trade in your case, can help members of the just for a construct and shape the culturally the identity? i certainly wanted to tell my own story when i wanted to become a writer, but i also wanted to build a literary community and, and a movement that would provide opportunities for other writers to tell their stories as well. that goes back to this idea that i don't believe in individual writerly privilege, i believe in this project of abolishing the conditions of voiceless. this that would allow more of stories to emerge to, but i don't want to see is

a diaspora in which one voice, one representative gets to tell their story at the expense of everyone else. and so i, i do think that dies for a transactional and translated literatures are crucial in terms of trying to change the narrative landscape of these countries that we find ourselves in. well, i'm very conflicted with that question because sometimes being at the center of the republic, you tend to be allowed to speak about yourself a certain way. so the narrative is a narrative that can sell. and at the same time, for me, it's as important to have the connection with where you come from. i never felt i was totally free in the to magic. i choose because when i go back to haiti, i have to confront my friends, my family of people i grew up with with their reality. so imagine i go back to

haiti and they said all, and what kind of family lake is it? well i, i just finished a crazy story 5 i, i wouldn't be proud to have that conversation because that would mean, i don't know what you're going through. i'm not interested with what you going through. so it's that kind of responsibility. i was never able to, to shake it out every day. i think about what's going on in congo. there is a wall, a 1000000 people have died. i cannot just erased it. so how do i speak of that? in my work? i went back to 80. i work i, i went into politics, i was in the government. and for me that's natural to have done that. i give to 3 years of my life to do that. and i still continue to day because those all my friends, they are all fighting for democracy every day risking their life. i don't have

gills, but i make sure that i show. so you directly. but i am involved i, i tried to do my best in that fight as well. i've got a question for you that in 2021 i had you in a god, you live full cost, which i enjoyed. honestly. you said something like, if you weren't going to rice about your life, and because it wasn't very interesting, what made you change your mind? because you happen to a memoir which has come up now i please. i am a reluctant memoir, just i'd say got to be a good sign because if you ever encounter an enthusiastic morris, you should run the other direction. and because exposing personal traumas inevitably typically would involve other people. and so i think i was very reluctant to write about my own life because it would involve talking about my family. and so i did feel the compulsion eventually to, to write this no more because i could finally make the connections between my

families, personal experiences and my own, and larger historical tapestries. i spent my career in my life grappling with big political questions of race and colonization and that scale otherness. but of hopefully a sign of my maturity as a human being is that i've also come to be able to recognize that otherness is also not just taking place on these bast scales, but also under intimate scales. and sometimes the people who are most other to you are the people who are right next to my parents, my, my family. the difficulty in reading a bit more is to understand your ordinariness. it can be the site of intense conflict and if we're able to excavate enough, then we tell the most honest story we can about our very minor experience. we might be surprised by how many other people can identify with what we think is so trivial

and exciting that all the brutes align about knowledge is not what we lack. and i guess is the question for both of you. how do we confront the kind of willful ignorance of self inflicted and these yeah, that really seems to dominate a lot of the debates about the past. all i wish i could be very often mistaken that i think we are losing that fact in one of the shop. the in the film is like the, the, our, again, something during the is a title. and when science is not respected, when a numbers are not respect, respect a, you know, i'm working on a film on all well, you know, to, into is 5 now and people another shame to come on t v and pretend to into of is 5. that's where we all today. democratization of communication isn't incredible to that, as anybody can take the phone and give is it's opinion about what's going on into

well, this is great. but to be able to do it without checking any source. you know, you can say something as a determine that as the scala who spent 40 years of his life working on that subject. and unfortunately, the press is not doing the job. i belong to a generation who's so how newspapers where bought by 1000000000 this. it started 5060 years ago if we don't go back to the beginning of the the, the 20th century when the billionaire start to buy the newspaper because the mock quaker were criticizing copy to this. so they stuff you, they knew that's where the pollies. so i'll try to turn that in a slightly optimistic direction, like a artist, and the callers are literally voices,

and that's where the baldwin example becomes important. right? because uh, he probably thought that he was facing the time of catastrophe as we feel we're facing a ton of catastrophe. but then the literally artist, the lonely scholar still has to have that sense of conviction and voice and vision to continue doing their work. even in the face of these enormous oppositional forces. power has been centralized, but there's still the opening that you described earlier. where committed people can create their own organizations and institutions and communities outside of that . they might be very small, they might be overwhelmed. but nevertheless that act is where the optimism comes in . and from those small moments, larger movements may build. that's the best that i can do that. okay. um that's, that's what i can do, but you know, let's bend on the note of optimism. it's very hard for me to pull that off. yeah, no, but i will make an effort to, to approach it. you know, what i used to tell to people is that it's,

you would the turbine what the future is. we all collective or not. so if we just sit and watch what is going on, of the well, in the, the, the west will happen. we may call history. no, i know it was not that, was it the positive it means the work, you know? yeah. the genocide is on its own and speak up a word for some people. and that tells us, i think that we have identified an issue that is crucial and transformative. i have to bomb you because the motor is hiding among you. if 10000 people die visit, okay, not okay. is the number you can put, will it be 50000 the to

interrogate the narrative. as the u. s. has continued support for israel affecting his global standing. there's no question about it. the united states has effectively complicit the genocide challenge, the rhetoric. yes, the links are correct, but so is the international community. can we also say that deals? the cornerstone of democracy is having a free and open democratic pro upfront without the the

condition of a thing. so she needs this. you know, this is this christmas helen fema somebody and let me see if this is odd to me and the tax. so me the

israel says its ended, his military operations in parts of northern guys are leaving behind scenes of total destruction. the service is all g 0 life from the back to the also coming up the we look at how the children of god, of finding a brief respite from the horrors of war. donald trump, stacy an appeal after becoming the 1st from the us president to be convicted of a crime and a change in policy. the us allows ukraine to use.