Aladdin Ullah

Sita, déesse indienne et épouse dévouée, est répudiée par son mari, Rama. Nina (la réalisatrice elle-même) dresse un parallèle entre sa vie et celle de Sita quand son propre mari, installé en Inde, met fin à leur mariage par e-mail... Adaptation musicale du Râmâyana, célèbre épopée de la mythologie indienne, Sita chante le blues mêle tragédie ancienne et comédie contemporaine. Singes volants, monstres et dragons, dieux et déesses, bulbes oculaires ailés sont chorégraphiés avec la musique d'Annette Hanshaw, chanteuse jazz des années 20.

College freshman Krishna Reddy, who has never cared for his Indian-American cultural heritage, looks forward to a new life on campus but is surprised to find that he has been assigned Indian roommates.

In Search of Bengali Harlem follows Ullah from the streets of New York City to the villages of Bangladesh to uncover the pasts of his father, Habib, and mother, Mohima. Alaudin discovers that Habib was part of a rich lost history of mid-20th century Harlem, in which Bengali Muslim men, dodging racist Asian Exclusion laws, married into New York's African American and Puerto Rican communities - and in which the likes of Malcolm X and Miles Davis shared space and broke bread with immigrants from the subcontinent. He also unearths the hardships and trauma that his mother overcame to become one of the first women to immigrate to the U.S. from rural Bangladesh. In Search of Bengali Harlem is a transformative journey, not just for Alaudin Ullah, but for our understanding of the complex histories of South Asians and Muslims in the United States.

Uncle Morty’s Dub Shack is a weekly comedy about 4 loser friends (Aladdin, Jimbo, Jon, and Trevor) who get a job at a voiceover studio for some extra dough. The problem is their boss, Morty, doesn't have the original scripts from the films so they're forced to make them up as they go. The end results are insanely funny or as the S.F. Chronicle notes, “Simultaneously stupid, yet brilliant.”