72 •Metro Magazine 195 | © ATOM
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ally moved back, they returned to the ‘small and isolated village
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they featured and her own experiences.
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demarcations, chatter, expectations and traditions that she
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nation is constantly associated with.
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shop that had activities in countries with poor cinema indus
tries, spreading the cinema vérité style.’ Through this, she
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KNNJDC:@S<SGQNTFGV@QThere’s certainly a need for movies about Afghanistan that
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gion’s struggles, as evidenced in6GHRJDX 3@MFN %NWSQNS *OHQQ
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account of the tumult surrounding a music competition, looselyadapting the documentary EFG@M 2S@Q +DYDQD 0DUNLQJ
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which pairs the guilt of a boy over his treatment of a friend with
the cruelty and violence of the Taliban.
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nuance, focusing on the plight of Afghans rather than that of
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rector Mohsen Makhmalbaf’s*@MC@G@Q(2001) delves into the
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as a boy in order to provide for her family under the prevail
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/@SHDMBD 2SNMD(2012) depicts the burden worn by the wife of
an older man incapacitated by a bullet in his neck, using this
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to documentaries, which expectedly examine the toll of war:
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account of Afghan soldiers in QL@CHKKN -DQXV 0HW]
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after reports of encroaching gunmen – a potent reminder of
the nation’s troubles, which is effective because audiences
havealready witnessed the life they’re being forced to abandon.
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Afghan actors who convey their characters’ plights as though
they’ve lived these themselves,6NKE @MC 2GDDOproves unlike
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portrait made by someone who has been through or witnessed
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ence elsewhere, encountered prevailing conceptions of her
homeland and become conscientious about the need to make
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the Cannes Film Festival’s Cinéfondation residency – have as
sisted her in crafting a personal yet universal representation of
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tion of the country eventuates in6NKE @MC 2GDDOis as much
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depicts are framed as just that, but, to viewers fed a diet of
media that paint Afghanistan differently, they’re extraordinary.GSSOVNKE@MCRGDDOkKL
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