Kandahar

When I watched this film, I did not think about the recent events of 9/11. Instead, what I saw was art, philosophy and universal human conditions being displayed extremely well on the screen. It maybe about Kandahar and the people there, but what I saw was a universal message about everyone in all countries. When it comes to the end of the road, and there is nothing else to live for, hope becomes the meaning. I don't think it is a good idea to watch this film as a source of documentary, I think it is better to watch this in the state of mind of watching something beautiful/sorrowful/artful/philosophical all at the same time. I don't think this film is a comment on 9/11, but a comment on the human conditions that is common to all of us.

If you really want to know, especially if you are a woman, how it was and in many ways probably still is, to live in Afghanistan, you should see this movie. This is truly shocking, without any seen physical violence. But the violence here is anyway bigger than in most "action movies" together.

The plot is about the Afghanian woman who is living in Canada. She has, through un-official ways, heard that her sister, still living i Kandahar, is planning to commit suicide. The Canadian/Afghanian woman tries to reach her sister and Kandahar. But there are obstacles, so to say.

This is like seeing a documentary and you get a real illusion of the terrible Afghan life. It deforms everyone, but it's also clear that it's not only the Taliban regime which is to blame for everything. Poverty deforms people morally. It even deforms the war victims without legs, who tries to cheat in rough ways to get prosthesis, obviously in order to sell them.

This is to be recommended. Definitely not a mainstream film.

This is an extremely beautiful film which inhabits a visual and emotional territory somewhere between Werner Herzog and Pasolini.

As others have stated, the actors are non-professionals and the plot is not the stuff of Hollywood melodrama. However the images and sounds are haunting and profound. Mahkmalbaf is truly a poet of the cinema.

The film does not attempt to make a political analysis of the situation of Afghanistan in 2001, but operates on a more humanistic and emotional level, showing the human consequences, the poverty both material and spiritual of life under the Taliban and the indifference of the outside world.

The "doctor" character, far from being implausible, is played by a real person with a very similar history. He is also a stand-in within the film for Makhmalbaf himself, who started as an Islamic fundamentalist revolutionary but has moved towards a more open-minded humanism.

The film itself describes a circle, the first scene is also the last, the sun shining through a burqa onto a woman's face. Between are unforgettable images, and a transit across a surreal and nightmarish landscape. Surrender yourself and you will really feel you have been on a journey.

The UK DVD also includes "The Afghan Alphabet" a similarly fictionalised documentary on the struggle to bring education to the three million or so Afghan refugees in Iran.

A haunting depressing but fascinating film. I used to believe (naively) in the melting pot theory but the melting pot does not exist. Some cultures are so far removed from what we have been brought up to believe in that is is almost impossible to connect with in any shape or form.

I have always believed that each culture should be looked at on its own merits and the Western Christian/Judeao civilisation is not necessarily the answer to it all. But how can anybody find any merit in a society run by someone like the Taliban. Everybody is opressed, the women more than any, but everybody lives a miserable life. There is no compassion, no respect for divergent views. The poverty is so all pervading that survival at the most basic level is all that matters.

The film is not really a coherent narrative, more a series of vignettes showing what life was like under the Taliban. Despite the amateur acting it is a powerful film. A number of powerful images, the most powerful, to me, is the scene depicting how female patients are dealt with by a "doctor". Horrifying. Western society has many many faults but by god I'm glad I live in it.

When you see `Kandahar,' it's almost impossible to believe that you're watching a film set in the late 20th Century. Mohsen Makhmalbaf's film takes place in Afghanistan in the latter days of the Taliban regime, when women were not merely viewed as second class citizens, but were denied any form of education or civil rights and even had to go out in public covered from head to toe to prevent men from seeing their faces. The filmmaker takes us to the heart of this alien and frightening world and makes us see, perhaps for the first time on the big screen, just how horrific life was for women in that time and place.

`Kandahar' is less a narrative film than a series of fascinating vignettes that drive home the realities of life in that part of the world. What plot there is involves the efforts of a female Canadian journalist to sneak back into her native country to prevent her desperate sister in Kandahar from committing suicide at the next solar eclipse. But that is really just a string on which to hang the individual pearls that make up the film. What is of primary interest to both the filmmaker and the audience are the various people the journalist encounters and the many experiences she undergoes. Hidden beneath her own burka, she witnesses firsthand the devastating poverty, the utter degradation and de-humanization of women, and the authoritarian oppression that defined life in that country during the Taliban rule. Along the way, she meets an American doctor who is trying his hardest to in some way relieve the misery of these people, but who finds himself waging a losing battle against the primitivism and theocratic oppression that have made life a living hell for the common citizenry of the country. She also encounters a seemingly endless group of people who have become dismembered by all the land mines left over from the Afghani war with the Russians. There is one remarkable scene wherein hordes of desperate, one-legged men hobble on crutches across the desert as Red Cross helicopters rain prosthetic limbs down onto the sands below. It is merely one among many images from the film that seer themselves into the viewer's memory. Another is a scene in which a male doctor has to examine his female patients through a hole cut out of a sheet, not even being allowed to talk to the woman directly about her symptoms but having to get his information through a male (or female child) `interpreter.'

Makhmalbaf keeps the ending of the film deliberately ambiguous which might frustrate some viewers but which actually adds to the verisimilitude of the piece. In the same way, much of the acting in the film borders on the amateurish at times, but again that contributes to the pseudo-documentary aura that the film must have to be truly effective. A clear-cut narrative resolution and slick performances by obviously professional actors would likely rob the film of its much-needed sense of immediacy.

`Kandahar,' by providing a voice to so many voiceless people, is a film that cries out to be seen.