About the Film
Rani is a social outcast, transgender woman who sets out to take care of an abandoned child. Set on the streets of Pakistan, she is determined to do the right thing amid waves of challenges.
About the filmmaker(s)
Hammad Rizvi is an award-winning writer and director from Austin, Texas. As a Pakistani-American raised in various parts of the world, his films often tackle topics that are as diverse as they are raw. His most recent film Rani won the Outstanding Writer Award at the NBCUniversal Short Film Festival, Fox Inclusion Award at Outfest LA and was added to Hulu. Hammad’s other award-winning films include Road to Peshawar, which aired on PBS and won the Bridging the Borders Award at Palm Springs Shortfest and Sunny Square, which won best short at Houston Worldfest. Hammad currently calls Los Angeles home, is repped by ICM Partners and Circle of Confusion, holds an MFA from UT-Austin and has yet to find a cure for the travel bug.
Rani is Kami Sid’s first movie role. She has gone on to become Pakistan’s first transgender model and a leading advocate for LGBTQ rights in the country. Rani is a joint US-Pakistan production between Rizvilia Productions and Grayscale.
About the Presenting Partner
Founded in 1980, the San Francisco-based Center for Asian American Media, formerly known the National Asian American Telecommunications Association (NAATA), has grown into the largest organization dedicated to the advancement of Asian Americans in independent media, specifically the areas of television and filmmaking. CAAM’s inception at the beginning of the 1980s came at a key moment in the historical development of Asian American media. In 1971, Los Angeles-based activists and artists established Visual Communications (VC), a community-based organization which was instrumental in helping to create many early examples of Asian American filmmaking, including the first Asian American feature film, Hito Hata: Raise the Banner, in 1980. In New York, Asian CineVision (ACV) formed in 1976 and pursued similar goals as VC, helping to nurture a nascent East Coast filmmaking community.
CAAM’s general mission approached Asian American media in two different ways. Part of the organization’s priorities included social advocacy to confront and challenge negative images of Asians within mainstream media. At the same time, CAAM also invested its resources into creating new work, especially for public broadcasting. The CPB, along with a collection of public and private donors, have given CAAM the resources to gradually expand and refine the services they provide to the larger community.
One of its oldest divisions is in public television programming. Beginning in 1982 and running through 1987, CAAM helped produce the Silk Screen series for the Public Broadcasting Service (PBS), focusing on educating the wider PBS audience on issues of Asian American import. Since then, CAAM has continually developed new programming for the PBS audience, especially during Asian American Heritage Month in May. These works have included both documentary and narrative films, addressing a diverse range of ethnic communities, key issues and aesthetic approaches. Past airings have included works such as Sokly Ny’s aka Don Bonus (1995), a diary-style documentary of a young Cambodian teen in San Francisco, as well as Kayo Hatta’s Picture Bride (1995), a dramatized retelling of 19th century Japanese immigrants to the plantations of Hawaii. For upcoming broadcasts see our Public Broadcast website.
Apart from their public television work, CAAM’s most visible community contribution is their yearly San Francisco International Asian American Film Festival (SFIAAFF), today known as CAAMFest. The SFIAAFF has since become the largest of its kind in America, with over 100 films screened over the course of 10 days and three cities (San Francisco, Berkeley, San Jose).