{"id":4906,"date":"2026-05-18T20:22:15","date_gmt":"2026-05-19T00:22:15","guid":{"rendered":"https:\/\/neelumfilms.com\/site\/?p=4906"},"modified":"2026-06-15T20:25:44","modified_gmt":"2026-06-16T00:25:44","slug":"mara-ahmeds-cinema-of-the-unseen-wound-by-george-cassidy-payne","status":"publish","type":"post","link":"https:\/\/neelumfilms.com\/site\/mara-ahmeds-cinema-of-the-unseen-wound-by-george-cassidy-payne\/","title":{"rendered":"Mara Ahmed\u2019s cinema of the unseen wound by George Cassidy Payne"},"content":{"rendered":"<p class=\"wp-block-paragraph\">Best known for her non-linear multimedia work, filmmaker\u00a0<a href=\"https:\/\/maraahmed.com\/wp\/\">Mara Ahmed<\/a>\u00a0creates documentaries, soundscapes and visual art projects that challenge colonial narratives and cross political and cultural borders. Born in Lahore but educated in Belgium, Pakistan and the United States, Ahmed\u2019s work reflects those layered histories and displacements. She has directed five films, including\u00a0\u201cThe Muslims I Know,\u201d\u00a0\u201cPakistan One on One,\u201d\u00a0\u201cA Thin Wall,\u201d and\u00a0\u201cReturn to Sender,\u201d which was funded through a NYSCA grant. Her films have aired on PBS as well as screening internationally.<\/p>\n<p class=\"wp-block-paragraph\">Ahmed\u2019s latest doc, \u201cThe Injured Body: A Film About Racism in America\u201d was shot and post-produced in Rochester, weaving together the voices of 16 women rooted in local communities and featuring the work of 10 dance artists and choreographers. When the film\u00a0premiered at the\u00a0Cinema Arts Centre\u00a0in Huntington last November, she expected a thoughtful audience. What she did not expect was the depth of the discussion that followed.<\/p>\n<p class=\"wp-block-paragraph\">Ahmed was joined by visual artist Brianna L. Hern\u00e1ndez and Uzma Aslam Khan, a Pakistani novelist and researcher.<\/p>\n<p class=\"wp-block-paragraph\">\u201cThe post-discussion was one of the best I\u2019ve ever done,\u201d she said. \u201cThe questions and conversation were incredible.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Ahmed knew the discussion prompts ahead of time, but what moved her was how closely Hern\u00e1ndez and Khan had engaged with the work.<\/p>\n<p class=\"wp-block-paragraph\">\u201cThey took copious notes. They really dove into the film,\u201d Ahmed said. \u201cI was asked questions about little scenes. Questions about the dances. It was really a back-and-forth.\u201d<\/p>\n<p class=\"wp-block-paragraph\">That intimacy mirrors the film itself. Shot across changing seasons,\u00a0\u201cThe Injured Body\u201d\u00a0traces the cumulative effects of racial microaggressions through testimony, choreography, landscape and silence. The film moves through Rochester\u2019s beaches, winters, lilacs and parks with a tactile, seasonal rhythm.<\/p>\n<p class=\"wp-block-paragraph\">\u201cIt feels like a tribute to Rochester,\u201d Ahmed said. \u201cI wanted the film to be very sensorial.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Featuring mesmerizing dance sequences primarily choreographed by\u00a0Mariko Yamada, the documentary blends movement, music, costume and visual texture into a layered sensory experience. From vibrant costumes to a dynamic musical score, every element of the film works to immerse viewers not only intellectually, but physically and emotionally.<\/p>\n<p class=\"wp-block-paragraph\">Yamada said she was initially drawn to the project as a space for learning and inquiry.<\/p>\n<p class=\"wp-block-paragraph\">\u201cI was introduced to Mara by a colleague,\u201d she said. \u201cI came in to the process with an intention to learn through the collaboration about racism in the U.S. As an immigrant of color with an accent, I have had experiences of racism that affected my body and mind.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Working on the film shifted something fundamental in how Yamada understood those experiences.<\/p>\n<p class=\"wp-block-paragraph\">\u201cWorking with Mara made me realize they were indeed real,\u201d she said. \u201cI was able to articulate what I was experiencing with language. I understood what I experienced. Dots were connected. Things made sense.\u201d<\/p>\n<p class=\"wp-block-paragraph\">The film centers on racial microaggressions, interactions so normalized and ambiguous that they are often dismissed in the moment, even as they accumulate into lasting psychological and physical harm.<\/p>\n<p class=\"wp-block-paragraph\">\u201cBecause the film is focused on racial microaggressions, there was always the possibility that we would go back and forth between open racism and more subtle interactions,\u201d Ahmed said. \u201cBecause they are unmarked, not legally legible, I knew there was going to be some back and forth.\u201d<\/p>\n<p class=\"wp-block-paragraph\">But she rejects the idea that the \u201cmicro\u201d makes the violence insignificant.<\/p>\n<p class=\"wp-block-paragraph\">\u201cI know that the micro can become the macro,\u201d she said. \u201cOne participant in the film is talking about microaggressions in the medical field, where she was not believed about her pain, and medical care was not done. There is a relationship between the micro and the macro. They enable each other.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Ahmed said many women of color immediately recognized the experiences described in the film, while some viewers struggled to even define the term.<\/p>\n<p class=\"wp-block-paragraph\">\u201cI had a group of white friends, and we were having this conversation,\u201d she said. \u201cThey wanted an example of a microaggression. They were saying, \u2018Maybe that\u2019s just how the person said it. Maybe they did not mean anything by it.\u2019\u201d<\/p>\n<p class=\"wp-block-paragraph\">The documentary expands beyond spoken testimony through dance sequences. Ahmed said movement became essential once she realized language alone could not contain what the film was exploring.<\/p>\n<p class=\"wp-block-paragraph\">\u201cMariko and I had blended live dance, film, and text in a Fringe Festival piece in 2017,\u201d she said. \u201cI realized that dance was a foreign language. It truly intrigued me. It meshed organically with film.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Because the documentary is fundamentally about the body, choreography became more than illustration.<\/p>\n<p class=\"wp-block-paragraph\">\u201cDance is an art form where the body is the medium,\u201d Ahmed said. \u201cI wanted the film to be more than injury. I wanted it to be about healing and hope, somatic therapy. The body becomes a way to regulate the nervous system. There is a lot of wisdom in the body.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Many of the dance sequences were filmed outdoors, with choreography primarily led by Yamada.<\/p>\n<p class=\"wp-block-paragraph\">\u201cWe have become disconnected from nature and our own bodies,\u201d Ahmed said. \u201cI wanted to return the body to nature. I wanted to go back to that primal connection.\u201d<\/p>\n<p class=\"wp-block-paragraph\">The result is a film that alternates between testimony and breath, tension and release.<\/p>\n<p class=\"wp-block-paragraph\">\u201cIt gives the audience breathing space between the conversations,\u201d Ahmed said. \u201cIt allows the audience to absorb and work through their feelings.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Questions of representation and authority also shaped the filmmaking process. Ahmed repeatedly returned to ideas she explored in her earlier film,\u00a0Return to Sender, about the colonial gaze and the power to construct narratives about marginalized people.<\/p>\n<p class=\"wp-block-paragraph\">\u201cAs a filmmaker I have power, even in small decisions,\u201d she said. \u201cWhat type of music I select. The angles that I shoot.\u201d<\/p>\n<p>To counter that imbalance, Ahmed treated the documentary as a collaborative process.<\/p>\n<p class=\"wp-block-paragraph\">\u201cI shared the rough cut with all of the women I interviewed,\u201d she said. \u201cI wanted to make sure they were onboard with the story and how they were presented.\u201d<\/p>\n<p class=\"wp-block-paragraph\">That openness came with tension.<\/p>\n<p class=\"wp-block-paragraph\">\u201cAn artist wants the authority to shape the work,\u201d Ahmed said. \u201cBut with this project, I opened myself up to feedback. I wanted to do the right thing.\u201d<\/p>\n<p class=\"wp-block-paragraph\">The length of the filmmaking process \u2014 eight years \u2014 surprised even some of Ahmed\u2019s collaborators.<\/p>\n<p class=\"wp-block-paragraph\">\u201cCOVID happened. We moved to Long Island. I was working on other projects,\u201d she said. \u201cI had made another film. I was creating websites, archives, installations. A lot happened over those eight years. I was working on it little by little. Rajesh Barnabas, the cinematographer, was a little surprised it got made.\u201d<\/p>\n<p class=\"wp-block-paragraph\">The film\u2019s title comes from\u00a0Claudia Rankine, whose book\u00a0\u201cCitizen: An American Lyric\u201d\u00a0helped Ahmed think about how poetry can make invisible injuries legible.<\/p>\n<p class=\"wp-block-paragraph\">\u201cThe phrase \u2018injured body\u2019 is not abstract to me,\u201d she said. \u201cPoetry is intense, sharp, intact with ideas.\u201d<\/p>\n<p class=\"wp-block-paragraph\">Reading Rankine\u2019s work became a turning point.<\/p>\n<p class=\"wp-block-paragraph\">\u201cWhen I read the book, I was blown away,\u201d she said. \u201cI thought, how can I use film to do the same thing? How can I make these aggressions more legible, so people can mark those aggressions, so people can avoid microaggressions?\u201d<\/p>\n<p class=\"wp-block-paragraph\">Ultimately, Ahmed sees the film not only as a document of injury, but as a call to imagine a world beyond racism and to believe in the possibility of collective healing. For Ahmed, those conversations are inseparable from the film itself.<\/p>\n<p class=\"wp-block-paragraph\">\u201cI didn\u2019t just want to talk about the injury,\u201d she said. \u201cI wanted to talk about the body as a site of resistance and force. And healing. We can collectively heal.\u201d<\/p>\n<p class=\"wp-block-paragraph\"><strong>\u201cThe Injured Body: A Film About Racism in America\u201d\u00a0will have its premiere and post-screening discussion at 11:30 a.m.<\/strong> <strong>on Saturday, May 30 at Little Theatre 1, 240 East Ave.<\/strong> <strong><a href=\"https:\/\/thelittle.org\/the-injured-body\/\">Tickets and more info here<\/a>.<\/strong><\/p>\n<p class=\"wp-block-paragraph\"><em>George\u00a0Cassidy\u00a0Payne is a\u00a0writer and journalist exploring the intersections of art, culture and social justice in Western New York. He also works as a crisis counselor and community organizer, bringing a deep commitment to storytelling and human connection.<\/p>\n<p><\/em>More <a href=\"https:\/\/www.roccitymag.com\/movies\/movie-previews\/mara-ahmeds-cinema-of-the-unseen-wound\/?fbclid=IwY2xjawSddpdleHRuA2FlbQIxMABicmlkETFvU1FVTk9laDh3TmViMUw2c3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpGOQMoaFJamk-iScZZMYUauvPisZsHkmsXPRmJd5kvA6Fjp_ToYvT8HFZbI_aem_yDiLRuyPXlnrK_NZ9SKnBw\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Best known for her non-linear multimedia work, filmmaker\u00a0Mara Ahmed\u00a0creates documentaries, soundscapes and visual art projects that challenge colonial narratives and cross political and cultural borders. Born in Lahore but educated in Belgium, Pakistan and the United States, Ahmed\u2019s work reflects those layered histories and displacements. She has directed five films, including\u00a0\u201cThe Muslims I Know,\u201d\u00a0\u201cPakistan One [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4906","post","type-post","status-publish","format-standard","hentry","category-news","clearfix"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mara Ahmed\u2019s cinema of the unseen wound by George Cassidy Payne - Neelum Films<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neelumfilms.com\/site\/mara-ahmeds-cinema-of-the-unseen-wound-by-george-cassidy-payne\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mara Ahmed\u2019s cinema of the unseen wound by George Cassidy Payne - Neelum Films\" \/>\n<meta property=\"og:description\" content=\"Best known for her non-linear multimedia work, filmmaker\u00a0Mara Ahmed\u00a0creates documentaries, soundscapes and visual art projects that challenge colonial narratives and cross political and cultural borders. Born in Lahore but educated in Belgium, Pakistan and the United States, Ahmed\u2019s work reflects those layered histories and displacements. 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