DOGGONED: A short film by arshad khan

Dear Friends,

Ever since I made the political documentary THREADBARE, many of you have been hounding me for more work. I decided to go back to film school and now I am working on fictional shorts with a feature film project in development.

My latest film project is called DOGGONED. It is a film about a young South Asian student who is trying to find odd jobs in order to make ends meet when her work permit is denied. It is dark comedy that deals with an important social issue in Canada. Watch a clip with the actor Anum Peerzada here.

I need your help to make DOGGONED a reality. I am shooting on Super 16 film (it is a visually stunning theatrical format- recently BLACK SWAN was shot on it). The cost however is high. I have just started the online fundraiser drive in order to raise the $5000 needed for production.


If you are in Montreal, we are hosting a fundraiser on the 13th of August 2011.

Montreal Fundraiser

I am using this short film as the model to produce and crowd fund my feature film project FAULTLINE which is currently in development. Please spread the word and let your friends know that independent, political cinema is alive and well in Canada and that artists are busy trying to make good work despite massive government cutbacks.

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Antichrist, dir Lars von Trier

Censorship and moral uproar in response to onscreen violence, nudity and sexual
imagery has a long and predictable history. Could there be an argument, however, that we have entered the endgame, now that film director Lars von Trier’s latest offering has been allowed onto our screens, edit-free, by the British Board of Film Classification?

For the first 40 minutes of Antichrist, released in the UK on 24 July, there is very little that is shocking per se. The opening sequence is shot in such an ‘artful’, monochrome aesthetic that the viewer is left wondering whether this perfume advertisement could really be the work of the Dogme 95 director. Bill Viola at his most indulgent, perhaps, but not von Trier. The drama’s catalyst comes when, during a bout of (admittedly pretty-real-looking) sex between a couple played by Willem Dafoe and Charlotte Gainsbourg, a young boy – their unattended son – falls to his death from a first floor window. The unfolding drama of the funeral, the woman’s grief and her partner’s methodical attempts to get her through it, is flipped back into a stylised realism, a swaying camera mirroring the delirium of grief. The controversy lies in the film’s second half, for here – and without giving too much away – the audience is lured into a world of nightmarish horror psychology that manifests itself in graphic vaginal self-mutilation and other instances of explicit, wince-inducing violence, angry sex, erect, blood-spurting cocks and woodland orgies. And it’s all wrapped up in what looks like a terrifying misogyny. It is a film that, despite occasionally risking becoming a pastiche of itself, leaves one shaken.

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