In 1972, 15-year-old Musson joined the Islamic underground militia of Iran to fight against the monarchy of the king, and was involved in the vortex of political power and conspiracy. At the age of 17, Musson shot and killed a policeman and was sentenced for the Islamic mass revolution in 1979. Sports, after more than four years of imprisonment, he was reborn. From then on, Musson began to navigate with the enthusiasm of life away from politics and devoted himself to film, literature and art, grasping the footsteps of his advancement, singing along the way to the homeland he has suffered through vicissitudes of life in his heart.
Although it does not involve politics, talking about cultural traditions will inevitably affect the political tentacles. Mousson, who moved to Paris, France in 2005, joined the new political game in 2009 as the official spokesperson of the presidential candidate Mir Hussein Mousavi, although Mir Hussein Mousavi lost. However, he saw the national sentiment and political passion that Musson had permeated outside the film, and the artist's innate idealistic sentiment of freedom and justice.
But compared to the unpredictable reality and cruel life trajectory, I still simply like the calmness and hope that is revealed when searching for dreams on the screen. This kind of emotion in the movie is the most reliable. It is more beautiful than the paradise defined in the mouth of all the "big rats". This is also the unpredictable part of Musson. Although his emotions are so enthusiastic, his shots are extremely calm. In the movie, he always hides from the camera, and is inseparable from the suffering nation and the rooted blood. Weeping with the burden of surpassing the compassion and compassion of others, paved out his movie world, and sent endless sadness and grief in his heart, embellished with laughter and laughter in a peaceful world.
As for this film, the documentary film "Kandahar" shot in 2001, although it was nominated for the 54th Cannes International Film Festival and received short-term attention from the Western film and television industry, it has always been famous for its "a kind of attention". Like the stories from the cruel reality below, the shouts of the rest of his life will be speechless after the festival. Of course, this is not to blame. The tears of the general public are just for the fun of patriots and Scud. What can prevent disasters always depends on whether interests and power are kind.
Not only this one story, but in this land, the annotation of modern civilization is the cannibalism of guns and bullets, and the endless gangbang under the eyes of the same "master". Then, with the dizziness of intuition, jump into the story of the movie "Kandahar", follow the parachute flying in the distance like dandelions, pretend to fly freely, and slowly start the exploration from far to near in the adventure of adventure. The dim plateau, the sky full of yellow sand, and the lack of green life images can always make people feel the barrenness, anxiety and desolation of this land. This is the only thing in films about Afghanistan, Iraq, Israel, Iran, Palestine, etc. The same face where you and I exist leisurely.
The seemingly documentary style of "Kandahar" actually has very vivid and dramatic story clues. Nafas, a former journalist in Afghanistan, left his sister and fled to Canada alone when the civil war broke out in Afghanistan. The letter that his sister wanted to commit suicide on the night of the lunar eclipse made Nafas resolutely choose to return to Afghanistan to rescue his sister. . The background of this story is set in the historical period when the director was filming at the time. At that time, it was the late stage of civil strife when the Taliban in Afghanistan was ruling wildly, and it was also a dangerous period when the Iranian and Afghan Taliban regimes could not gradually escalate. Not only was the border between Iran and Afghanistan filled with gunpowder. With the terrifying atmosphere of the city and countryside in Afghanistan, there are also uncleared landmines and bombs ambush everywhere, constantly devouring the souls and bodies of ordinary people.
Mine bombs, this is another clue that the film runs through the whole process of recording. From the parachute in the distance to the artificial prosthesis falling down in the close-up, from the game of stepping on a doll and being blown to death, to the human remnants gathered outside the Red Cross tent, it reveals the fact that the war ravaged mankind. As for this must-have journey in the plot, from the Iranian border into Afghanistan, and finally to Kandahar to rescue his sister, Nafas’s simple and beautiful idea, all because of this terrifying reality, indicates that this period is not too far away. The journey is as difficult as the sky.
But it is also this incredible specific situation, recorded by Nafas, which builds an invisible bridge between the audience and the local environment, folklore, and war life. The Iraqi-Arabic border is full of ordinary people who lack arms and legs, and the diseases, poverty, and helplessness that are tormented by the war have also cast a layer of "terror" that cannot be discerned in people's pure eyes. Trust is a crisis, and life preservation has become the most realistic issue. These are just the same fate of men and women, young and old, and even more awe-inspiring are those horrible lives that have always punished women and children in the name of national religion.
Married women there must always wear a veil to show loyalty to the doctrine, loyalty to their husbands, and self-keeping; in parallel with polygamy, endless generations of offspring, but unable to give any child the promise of peace and joy , Let alone the meaning of her life.
Although the boys there are sent to the school, they have to hold a knife and gun, shake their heads religiously, chant the sutras, and plant the seeds of hatred in their young minds early, and more so-called mediocre boys have fallen into disrepair. For the beggars who are waiting for alms; girls only have to find a way to survive early, and there are many who spurn this "way to survive" and choose the way of death that is "rebirth from the fire".
There are countless civilians who have been numbed by the war, carrying prosthetic limbs deceived from the Red Cross, spurring the will to live, and continuing the game of the weak and the strong in the field they can control.
There are also foreigners, charity groups, and volunteers led by God, but no matter how great and selfless, their power still cannot appease the anti-American and anti-Western civilization anger on the walls of Tehran.
It should be said that what such a semi-documentary film will ultimately lash out must be war, the reality of all injustices in the world. It has uncovered the truth of the conflict of interests in the bitter sea of life in the channel, whether it is the blood feud between Muslim Shiites and Muslim Sunni, or the battle of national dignity triggered by poppies and oil, what is listening to politics is the greed. In fact, there are no permanent enemies here, but there must be permanent alliances of interests.
Of course, seeing the face of Afghanistan from the perspective of an Iranian director, there will definitely be subjective feelings derived from the national spirit, but this possibility is eliminated in this drama. Because the story ended in Narfas's journey to follow the light of the "sun", her promise to her sister is still in the process of fulfilling her, and the hope must still be there, and she also hopes for a happy ending. As for entering Taliban-ruled Afghanistan, understand the more cruel life, similar to prohibiting women from going out to work, men must wear beards, girls are not allowed to go to school, closed movie theaters, disabled mobile phones, smashed TVs, controlled entertainment activities, mutilated limbs, and smashed. People, etc., then follow other movies and explore the cruel art journey.
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