Pita or pitta ( /ˈpɪtə/ PI-tə) is a round pocket bread widely consumed in many Middle Eastern, Mediterranean, and Balkan cuisines. It is prevalent in Greece, the Balkans, the Levant, the Arabian Peninsula, Turkey, and parts of the Indian subcontinent. The "pocket" in pita bread is created by steam, which puffs up the dough. As the bread cools and flattens, a pocket is left in the middle.
Pita is a slightly leavened wheat bread, flat, either round or oval, and variable in size. Its history extends far into antiquity, since flatbreads in general, whether leavened or not, are among the most ancient breads, requiring no oven or utensils to make. The first evidence of flat breads occurs in and around Amorite Damascus.[citation needed]
The term used for the bread in English is a loanword from Greek, pita (πίτα), probably derived from the Ancient Greek pēktos (πηκτός), meaning "solid" or "clotted". In the Arabic world flatbreads such as pita are called khubz (ordinary bread). The tenth-century Arab cookery book, Kitab al-Tabikh by ibn Sayyar al-Warraq, includes six recipes for khubz, all baked in a tannur oven.
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An American immigrant to New Zealand tries to integrate himself into the local community by meeting some new found friends at a bar and attempting to tell a joke. Unfortunately the strange cultural mix he encounters plus forces beyond his control conspire against him with disastrous results.
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In this intimate drama, Kawariki must become the leader of the family after his father retires. A husband and father, he realizes that in order to lead with integrity, he must come out and be honest about his own life, even though it will test the boundaries of acceptance and unconditional love. Offering valuable insights into Maori traditions, family ideals and cultural values, this feature debut is rich and textured with emotional layers and stunning New Zealand landscapes.
Keywords: actor, adultery, anonymous-sex, auckland-new-zealand, bathhouse, beach, bedroom, blowing-out-candle, boyfriend-girlfriend-relationship, broken-cup
Kawariki: Once upon a time there was a handsome prince called Kawariki Dios. He had everything anyone could hope for. He fell in love with the beautiful princess Annabelle, and all the bells in the kingdom pealed out on their wedding day. Their home was a shining fairy galleon, a ship spun of dreams and laughter.
Annabelle: Sebastian's off in his room with that girl again. I'm pretty sure it's not study they're immersed in.::Kawariki: Ah, well.::Annabelle: "Boys will be boys," is that it?
Grace: Now, you listen to me. Leaving is easy. Making it work, sticking around for the long haul - that's the hard work. Leaving is for cowards.
Chris: So you're not going to stay on in?::Kawariki: I'll never get any sleep if I do.
Kawariki: What the hell you playing at?::Chris: You wouldn't answer my calls.::Kawariki: So? You wanna come up here and screw up my life?::Chris: Maybe that's what I SHOULD do. Tell 'em all the way you REALLY lived. Tell what they... their golden boy, their husband, their son, their daddy REALLY likes to get up to.
Chris: Is this what you truly want? Happy families as long as no one knows your dirty little secret. Is that how you want to live?
Annabelle: Would it make you feel better if Mommy took you for a paddle?
Grace: I want you out of my house. I know why you left your wife, your children. I know.
Annabelle: I didn't think you were that person, Kawa. Not some walking bloody cliche.
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A group of friends go through the trials & tribulations of life, fighting the battle between their head & their heart. Choosing love, marriage, kids, work, being single or just when to drag themselves out of bed. Every decision in life comes down to a choice between logic or emotion. What do you choose?
Keywords: human-rights, independent-film, urban-film
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A middle-aged, calloused US Border Patrol Officer finds himself accidentally falling for a stubborn and hardened young Mexican woman on the run from murder in Tijuana.
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Ponsonby, Auckland: the natural habitat of latte-swilling JAFAs who drive SUVs and live in prohibitively expensive, renovated villas; and the holy grail of Auckland real estate - which is exactly why Dimity Rush wants to move her family into the neighbourhood. Dimity and her husband Stuart have been lifestylers out in rural Kumeu, West Auckland, but now Dimity has persuaded Stuart and their two sons to up sticks and move into the smartest, most pretentious suburb in Auckland. HR manager Dimity is pushing 40 and wants to have it all before the downhill slide to middle age, while anaesthetist Stuart just wants to stop and smell the roses. But Dimity is about to get a rude awakening in the form of her new Ponsonby neighbours, the Shorts. Arthur Short has rented in the area for more than 20 years and is a work-shy leftie who mourns the old suburb before the upwardly mobiles started moving in. His wife has just shot through with another woman, leaving him to raise two teenage daughters. To make matters worse, the house he rents is on the market and the race is on between Dimity and Arthur to purchase the property. The clash of two cultures and lifestyles is the basis for this new satirical drama that sends up and explores the country's most burning obsession - buying the perfect house in the best location.
Ponsonby at war.
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For 11-year-old Tino, being the eldest of five children in a Samoan family is no easy task. Tino plays guardian and protector to his younger siblings. As Tino strives to cope in an adult world, the birth of yet another baby brings about more burdens and responsibilities. The children endure in silence, their world a weave of vision and sound.
Keywords: children, growing-up
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In 1937, a young First Nations (Canadian native) girl named Ashtecome is kidnapped along with several other children from a village as part of a deliberate Canadian policy to force First Nations children to abandon their culture in order to be assimilated into white Canadian/British society. She is taken to a boarding school where she is forced to adopt Western Euro-centric ways and learn English, often under brutal treatment. Only one sympathetic white teacher who is more and more repelled by this bigotry offers her any help from among the staff. That, with her force of will, Ashtecome (forced to take the name Amelia) is determined to hold on to her identity and that of her siblings, who were also abducted.
Keywords: boarding-school, canada, child-abuse, culture-clash, independent-film, native-american, native-american-residential-school, racism, school
A moving tribute to a young girl's courage and indomitable spirit...
Taggert: The power invested in me as Indian Agent for the government of the dominion of Canada, in accordance with regulation 31 of the Indian Act of 1925, in cooperation with the Anglican and Roman Catholic... [mom spits in his face] Now, come on. You people were warned. You're supposed to bring your kids down to the schools. [Taggart speaks in Kainawa] It's 1937, you can't stay ignorant savages forever.
Kathleen: You must find it very satisfying to be helping these poor children get a good education. Learn to read and write and have a wider understanding of the world?::Taggert: Did they tell you anything about this school or about teaching the Indians?::Kathleen: Yes, of course. It's a fine Christian institution doing God's work and the children - well, children are the same anywhere. They need love, patience and careful guidance... And just why are you grinning at me like a great ape?::Taggert: Well, ma'am, it's just been a long while since I heard horse dung piled so pretty.::Kathleen: Well thanks be to God that a cynical man like yourself is not teaching these poor children!::Taggert: Thanks be to God. I wouldn't have the stomach for it.
Miss Weir: No talking gooblygook! [hearing Astokomi speak Kainawa]
Mr. Babcock: They're such marvelous creatures! [speaking of the children]
Reverend Buckley: I imagine you've already been imbued with Mr. Babcock's liberal vision of education for our little brown children of the prarie?::Kathleen: Well, yes he...::Reverend Buckley: The fact is a liberal approach isn't very effective in our work here. It's kindness that only prolongs despair. These children come to us from a dead culture. It's like a noose thrown around their necks, our job is to remove this terrible burden and give them their freedom. I'm sure if you understand that, you'll find your work here very rewarding, indeed.
Esther: So what do we got here? A real, live bush Indian. A real little savage. [upon meeting Astokomi]
Rachel: Don't speak Indian, they'll beat you.
Kathleen: And they've been brutalized! Now just how am I to get the trust and respect of those children when they think I'm about to beat them silly at any moment?
Reverend Buckley: Kathleen, believe me, I do understand the frustrations you feel. At first, well, the past seems almost insurmountable doesn't it? You know, I think that's why I took up gardening. These are all wildflowers, all local. Magazines have come to take photographs, yes.::Kathleen: Yes, they're lovely...::Reverend Buckley: Of course there - there nothing but weeds. Out there in the wild they grow in repugnant profusion. But here, in the confines of a carefully tended garden, well, you can see how beautifully they grow! Of course they don't transplant easily. They take more time, patience and work than domestic flowers. I've found, after I gather them, that I must first scrape every trace of the old soil from their roots and plant them in fertile, new earth. Water them well, weed them and cut them back often or they will return to the wild.::Kathleen: Reverend Buckley... I'm talking about children, thinking, feeling creatures.::Reverend Buckley: I assure you Kathleen, I assure you, so am I.
Kathleen: I'll be civil to you Mr. Taggert but I'd rather kiss a skunk. [catching herself under mistletoe]