The tenth anniversaries of 9/11 and the October 7 US-led invasion of Afghanistan are upon us. As Americans reflect on the impact of these events on our lives, the grassroots film series “The Fruit of Our Labor” reflects on the situation from an Afghan perspective. Seven of the ten films focus on women and women's issues; four of which were filmed and produced by Afghan women. Their cameras eavesdrop on the saucy banter of women as they tend to everyday tasks such as baking bread and planting seedlings, and on their consoling but firm words as they counsel each other in the aftermath of traumatic war injuries. One video short documents a woman's search for her lost husband – one of the nation's one million addicted to heroin – while a pregnant woman navigates the options for health care and birth control – without a functioning maternity clinic nearby. “The Fruit of Our Labor” details Afghans' inexorable struggle to survive.
“The Road Above,” direction and camera by Aqeela Rezai, editing by Jawed Taiman.
A look at the effects of poppy production in Afghanistan – from an Afghan perspective. Over one million Afghans are addicted to heroin.
“Knocking on Time's Door,” direction and camera by Ahmad Wahid Zaman, editing by Hamed Alizada.
A Mujahideen fighter puts down his gun to teach and to try to lead his village in the building of a new school.
“Death to the camera,” direction and camera by Sayed Qasem Hossaini, editing by Hamed Alizada.
Women joke and fight on a cash-for-work site – accusing each other of being prostitutes, liars and racists. Does the film reveal the depth of pain and trouble facing Afghans, or do these women know how to play to the camera and the aid industry?
“Bearing the Weight,” direction and camera by Mona Haidari, editing by Hamid Arshia.
Afghans have no choice but to be resilient: A look at the challenges and successes of one of Afghanistan's 700,000 people left disabled by violence.
“Treasure Trove,” by Fakhria Ibrahimi.
Eavesdrop on the saucy banter of women as they tend to the everyday backbreaking work of baking bread.
“Beyond Fatigue,” by Baqir Tawakoli.
Nowhere more so than in Afghanistan are women stretched to the limit of their physical and mental abilities.
“Water Ways,” by Majeed Zarand.
Most Afghans are more worried about access to water than they are about being attacked by insurgents. In a country that is 85 percent agrarian, Afghan villagers and the government – in partnership with international aid organizations – are trying to deal with the incongruous mix of droughts and flash floods that terrorize large parts of the country.
“Hands of Health,” by Zahra Sadat.
A pregnant woman navigates the options for health care and birth control – without a functioning maternity clinic nearby.
“Searching for a Path,” by Reza Sahel.
An intimate portrait of a pushcart vendor and the struggle for Afghans to cope with 40 pecent unemployment.
“L is for Light and D is for Darkness,” by Hasibullah Asmati.
After the Taliban, Waseema takes things into her own hands to start a girls' school. She organizes village women, pressures resistant men and sets up “classrooms” in an abandoned, roofless building on the outskirts of the village.
We’re not backing down in the face of Trump’s threats.
As Donald Trump is inaugurated a second time, independent media organizations are faced with urgent mandates: Tell the truth more loudly than ever before. Do that work even as our standard modes of distribution (such as social media platforms) are being manipulated and curtailed by forces of fascist repression and ruthless capitalism. Do that work even as journalism and journalists face targeted attacks, including from the government itself. And do that work in community, never forgetting that we’re not shouting into a faceless void – we’re reaching out to real people amid a life-threatening political climate.
Our task is formidable, and it requires us to ground ourselves in our principles, remind ourselves of our utility, dig in and commit.
As a dizzying number of corporate news organizations – either through need or greed – rush to implement new ways to further monetize their content, and others acquiesce to Trump’s wishes, now is a time for movement media-makers to double down on community-first models.
At Truthout, we are reaffirming our commitments on this front: We won’t run ads or have a paywall because we believe that everyone should have access to information, and that access should exist without barriers and free of distractions from craven corporate interests. We recognize the implications for democracy when information-seekers click a link only to find the article trapped behind a paywall or buried on a page with dozens of invasive ads. The laws of capitalism dictate an unending increase in monetization, and much of the media simply follows those laws. Truthout and many of our peers are dedicating ourselves to following other paths – a commitment which feels vital in a moment when corporations are evermore overtly embedded in government.
Over 80 percent of Truthout‘s funding comes from small individual donations from our community of readers, and the remaining 20 percent comes from a handful of social justice-oriented foundations. Over a third of our total budget is supported by recurring monthly donors, many of whom give because they want to help us keep Truthout barrier-free for everyone.
You can help by giving today. Whether you can make a small monthly donation or a larger gift, Truthout only works with your support.