
ONE BULLET

This story of female friendship forged amidst America’s longest war is told by a filmmaker who spent 18 years in-and-out of Afghanistan. In this war movie, the battlefield lies behind the curtains of an Afghan home as Bibi Hajji struggles to survive the loss of her youngest child, and the impact of a brother’s death on her remaining sons. A haunting image of that boy surviving a bullet wound prompted director Carol Dysinger to investigate, what happened to him, who fired the shot? “One Bullet” evolves from procedural to an excavation of the human experience, of loss and redemption. It asks: how might we make peace across vast social, cultural and religious divisions? Two women drinking one cup of tea at a time.

One Bullet- Bibi Hajji
Who shot Fahim? Filmmaker Carol Dysinger shares how one Afghan family’s loss in 2006 forged a surprising friendship. ONE BULLET utilizes footage from 2005 to 2020 to tell a tale of tragedy, war, and interconnectedness.
Following the incident, Colonel Elliot has the impossible task of finding out who shot Fahim. Although, at times, it appears that his job is more to prove that it wasn’t an American bullet that went astray. The deliberate mistakes by the original interpreter are haunting, promising Fahim he would walk again when we’ve just heard the doctors tell him he will most likely remain paralyzed. The US government promised he would receive fully paid care in Turkey. That is not exactly what went down. In 2011, Dysinger tracked down the family only to discover Fajim had died two years after the incident.

Carol and Fawad
Dysinger does her best to respect Afghan culture, treading lightly, all while trying to make amends on behalf of the US. The evolution of Carol’s relationship with Bibi’s sons is fascinating, moving through anger, curiosity, and respect as the years pass. The passing conversation that goes untranslated ranges from innocuous to well-intended, intrusive to insulting. Bibi’s grace and hospitality are endless. You see, hear, and feel the protective nature of Carol. It is a tumultuous task, one that Bibi covers with food.
The particular ripple effect on one brother concerns Carol. Fawad’s mental and emotional decline intertwined with an eventual religious zealotry. The details from the night Fahim was shot slowly come to light over the years, despite the report essentially not existing in an official capacity today.
ONE BULLET is Fahim’s story. It is Bibi’s, Carol’s, and America’s story. Slamdance 2024 audiences should always keep this film in the not-too-far reaches of their minds.
(Unavailable for streaming in Afghanistan)
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Director:Carol Dysinger
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Screenwriter:Carol Dysinger, Steen Johannessen
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Producer:Ashim Bhalla, Su Kim, Carol Dysinger
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Year:2023
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Runtime:93 minutes
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Language:Dari/English
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Country:Afghanistan
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Genre:Documentary
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Subtitle Language:English
This year’s festival runs Fri, Jan 19, 2024, 12:00 PM – Sun, Jan 28, 2024
For all of our previous Slamdance coverage, click here!








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Filmmaker Scott Cummings brings Sundance 2024 audiences into the everyday lives of Satanists. The Church of Satan boasts innumerable followers around the world.
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DIG! XX




TIME BOMB Y2K makes terrific points about the effects of technology on human interaction. The film delves into how certain groups of people reacted during the unknown. Some folks became preppers, while others cried “Hoax” from the beginning. It’s a perfect metaphor for the power of disinformation, closely mirroring how a particular subsection of alt-right people think a homegrown militia uprising is coming. I had no idea this existed in preparation for Y2K. We have to take into consideration how the world reacted during COVID. The potential for violence equals the potential for peace. It is a fine line. 
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Stress can do things to you. In THIN SKIN, Aham’s life is falling apart around him. Circumstances, some of his own doing and others out of left field, throw his days, health, and sanity into chaos.

Lila Schmitz brings audiences the magic of West Ireland through the melodies of the locals and the emotional pull of a tune. THE JOB OF SONGS is a toe-tapping, viscerally joyous film. 

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The unit set lends itself to a stage play. I would pay good money to witness this on Broadway. It’s immersive enough to captivate a live audience even more. LIBERTY could be a unique opportunity for Gravitas to enter the theatre world. If I were producing a screen-to-stage adaptation, I would edit live audience reactions during each performance, creating a curated, visceral experience for each ticket holder.
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Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging.
Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families.
2nd Annual Dances With Films – NYC 





The score possesses a moving, almost visceral effect on the viewer. The information Rolnick discovers through her years of research will shock you. Their stories remain ever-evolving living entities. The film reinforces the tried and true Churchill adage, “Those that fail to learn from history are doomed to repeat it.”
Don’t Tell Larry
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