Not A Love Story Full Movie Hindi Dubbed Watch Online
Ashlie Hagenson
It is especially important that those working with particularly vulnerable young people, such as those in the care or juvenile justice systems, or those in housing difficulties etc. take the time to show this to them. (For insight into what makes some young people more vulnerable to grooming of any sort and to find out how to reduce the risks, read this post: To Be Somebody: on teen sexual grooming and exploitation).
This film presents, in the most heart-wrenching way, the true story of Kayleigh Haywood, a British schoolgirl who was the victim of online grooming, rape and murder. No words could better convey to our young people the dangers of online grooming and how easily it can happen to anyone whether considered to be a vulnerable young person or not.
Please share widely using the social media buttons to the side and bottom of this post. Sharing really is caring. I strongly believe that this video will prevent untold numbers of young people from falling victim to this predatory behaviour. For this we must thank the parents of Kayleigh for allowing her story to be told and for Leicestershire Police to have the vision to bring something positive to something so utterly dark.
As the film emerges festival season with awards from the New Hampshire Film Festival, the Hawaiian International Film Festival, and more, its creators are hoping Aikāne can reach a global audience with its message of positivity and queer love.
Dean Hamer: Joe and I had been working on [it] for more than 20 years, even though we didn't know it. We've spent all our time together since we got married working on making documentaries and helping to tell stories of queer people and mostly of the injustices and the wrongs and the challenges that we face and the perseverance that's required to survive.
We felt it was time to tell a different type of story. Instead of talking about all of the struggle and the conflict of queerness, [we wanted to] talk a little bit about the benefits. During all of our work together, what has always held us together, despite all the conflict that we've witnessed and been involved in, is our love for one another and our trust of one another and our relationship.
In traditional, pre-Western contact times, those relationships were quite common. Chiefly folk were especially noted to have intimate friends of the same sex within their retinue, within their midst, because they needed their close confidantes. They needed people who they could trust with their life, and they also needed support if they were not able to tend to an important matter. If their aikāne went on their behalf, it was sanctioned and accepted. That changed with Christianity. Christianity made relationships like that go the other way and be negative. So I come from a culture that only knows one pronoun, he, she, and it is only one word, and that is ʻo ia. 'O ia is an indicator of how my people feel about sex and gender.
Daniel Sousa: I was really amazed that we could tackle an original fictional story that was epic and had monsters and mythology and a love story, [and somehow] juggle all these pieces together. These characters did not speak and had to communicate through pantomime, almost like shadow puppet theater, which I thought was fascinating, too. We arrived at something that we were all happy with.
DH: We told [Hinaleimoana] that we didn't really see any known Kānaka story that exactly fit this sort of arc that we were looking for. She was very clear that we should be careful not to pretend it was a Hawaiian story or even any other Polynesian story, because there were no Samoan stories or Tongan stories or Māori stories that we knew of that fit either. So we were careful to do that, and we got rid of anything in the dress or the tattoos and the landscapes even, that would make it specifically Hawaiian. Then we showed pretty much the finished film, or very close to the finished film, to Hina.
I often find that queer love stories in general are portrayed pretty tragically. But what I love about the ending of Aikāne is the fact that we have our protagonists being successful against this evil, opposing force, and they get to enjoy their love afterwards. I'd love to know about the significance of that.
DH: Although there are plenty of gay love stories, they're always about the fight of the two people against homophobia, against outside forces that are against them. And about that struggle. We know that's a lot of life, but since we had the freedom of fiction, we just wanted to imagine what would happen in a world where there was none of that. And where them being two men doesn't really make any difference. We made this movie because we think that telling a queer love story with a happy ending is a form of resistance.
HOPPER: An American love story is a production of M&C Media, Exhibition on Screen and Seventh Art Productions in association with American Masters Pictures. Written and directed by Phil Grabsky and Michael Cascio. Produced by Cynthia Weber Cascio and Amanda Wilkie. Phil Grabsky, Michael Cascio, Cynthia Weber Cascio and Amanda Wilkie are Executive Producers. Michael Kantor is Executive Producer for American Masters.
American Masters is available for streaming concurrent with broadcast on all station-branded PBS platforms, including PBS.org and the PBS App, available on iOS, Android, Roku streaming devices, Apple TV, Android TV, Amazon Fire TV, Samsung Smart TV, Chromecast and VIZIO. PBS station members can view many series, documentaries and specials via PBS Passport. For more information about PBS Passport, visit the PBS Passport FAQ website.
[Visual and audio descriptions: Video opens chiming tones and the PBS logo in white against a blue background: Three abstract heads in profile. A jazzy tone as text on screen reads: American Masters. Edward Hopper. Now, a field of grass dances in a light breeze. Text on screen reads: Executive Producers: Michael Cascio. Phil Grabsky. Synthia Weber Cascio. Amanda Wilkie. Produced by Cynthia Weber Cascio and Amanda Wilkie. Written and directed by Michael Cascio and Phil Grabsky.]
Carmenita Higginbotham: Hopper was aware of, and responding to, a kind of isolation. What happens when one is alone? That can be psychological, that can be physical, that can be social. And I think that was definitely part of the human condition that he wanted to articulate.
Elizabeth Thompson Colleary, Hopper Scholar: The major impact his father had on his life was clearly the love of reading. He was described as bookish. He said my father should have been a poet or a philosopher. The other major factor was a growth spurt. By all accounts, he grew approximately an entire foot in eighth grade. So, at one point he was six foot four as an adolescent, and that had a great impact. There were descriptions of him having painful discomfort as a result of this growth spurt, but also his self-image suffered. He was taunted by children at school. They bullied him.
Kim Conaty, Curator of Drawings and Prints at the Whitney Museum of American Art, New York: 3 Washington Square North was kind of a famous building within the artistic community. It had been really turned into a studio building, a number of artists before him, writers before him, a center of cultural activity, it really was one of the most New York of places, in many ways a perfect spot for an artist.
Adam D. Weinberg, Director of the Whitney Museum of American Art, New York: His tour-de-force painting at that time is the painting Soir Bleu, which is a painting that, for him, he painted in 1914, which was about four years after he returned from his last trip to Europe.
Adam D. Weinberg: This was a painting that, in many ways, kind of synthesized his own admiration for Degas, early Picasso, Toulouse-Lautrec. The Soir Bleu was castigated for being a very French-looking painting. He was highly criticized for it. And, basically, he rolled it up, and it was never shown again until the Whitney unrolled it.
Adam D. Weinberg: You have to remember he is coming to maturity at the time that the Chrysler building and the Empire State Building are built. You would think every building in New York City was no more than three or four stories. That is pretty extraordinary. So, he is trying to escape the city as much as he is trying to preserve the city.
Carmenita Higginbotham: I think Hopper was aware of, and responding to, a kind of isolation. What happens when one is alone? That can be psychological, that can be physical, that can be social. And I think that was definitely part of the human condition that he wanted to articulate.
Elizabeth Thompson Colleary: And so having her pose for him was easier than him having to go and procure the services of someone else. So, depending on what he needed a woman to do or what role he wanted a woman to play, Jo was conveniently present.
Voice for Hopper: The idea for the painting is probably first suggested by many rides on the El train in New York City after dark glimpses of office interiors that were so fleeting as to leave fresh and vivid impressions on my mind.
Carmenita Higginbotham: Office at Night is a remarkable painting simply for the possibility that is there. What is happening that has allowed these two people to be in this office at the same time? We are able to build a story around them based on the choice of shoes, the quality of their dress, how tightly it hugs the body and how much is revealed, how sexualized the figures might be, based on that. They are little points of direction.
Sue Roe: Jo is turning up in every possible guise. She had studied drama and she poses like an actress. She becomes whoever he needs for that particular painting. The usherette in New York Movie-House , the girl leaning on the counter in Nighthawks. She plays her part.
[A self-portrait of Josephine Nivison Hopper is shown on screen. Melancholy instrumentals continue. Next, the following works of Hopper appear on screen: Jo Sketching in the Truro House circa 1934-1938, Jo Hopper Reading circa 1935-1940, Study of Jo Hopper Seated and Sewing, circa 1934-1940, and Study of Jo Hopper 1945-1950.]
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