Crossing the Dust (Parinawa la ghobar)
Alemania título: Parinawa la ghobar (Durch den Staub)
Francés título: À travers la poussière
Rusia título: На пыльном перекрестке
Título original: Parinawa la ghobar
Francés título: À travers la poussière
Rusia título: На пыльном перекрестке
Título original: Parinawa la ghobar
Roadmovie – Frankreich, Irak
Año de producción: 2006
Duración: 73 minutos
Año de producción: 2006
Duración: 73 minutos
Dirección: Shawkat Amin Korki
Guionista: Shawkat Amin Korki
Fotografía: Turaj Aslani
Música: Mohammad Reza Darvishi
Guionista: Shawkat Amin Korki
Fotografía: Turaj Aslani
Música: Mohammad Reza Darvishi
Sinopsis:
It is April 9, 2003, and Saddam Hussein’s statue in Baghdad’s Fardous Square has just been toppled. Two Kurdish soldiers – Asad and Rashid – celebrate with their comrades before being ordered to take food supplies to another area. As they travel, they find a lost five-year-old Iraqi boy named Saddam (a beggar child that the director found and decided to cast). Asad, the gentler and more optimistic one, decides they should find the boy’s parents. However, the name triggers a kind of Pavlovian response in Rashid and he refuses at first to help Asad. The film begins with a text explaining that many parents took the name, Saddam, as it guaranteed favours from the government. But this had the reverse effect once Saddam fell from power. Shawkat Amin Korki’s debut was shot in Iraq soon after the American troops arrived in Baghdad.
While the American invasion of Iraq is in its initial stages, two Kurdish militants heading home from Iraq encounter a major obstacle: a boy (named after the deposed dictator) searching for his missing parents. The younger, idealistic soldier is determined to help the lost boy; the older man, physically maimed and psychologically scarred by years of fighting, wants nothing to do with the kid. As the trio travel in search of the boy’s family, they encounter a land filled with righteous holy men and stoic American troops, abandoned corpses and looting villagers, mass graves and marauding youths.
Evoking both classic Italian neorealism and the roots of Iranian cinema’s recent renaissance, Shawkat Amin Korki’s humanistic parable paints a tragic picture of life during wartime. Even those who are shell-shocked and who have had their innocence stolen are capable of hope for a better tomorrow.
While the American invasion of Iraq is in its initial stages, two Kurdish militants heading home from Iraq encounter a major obstacle: a boy (named after the deposed dictator) searching for his missing parents. The younger, idealistic soldier is determined to help the lost boy; the older man, physically maimed and psychologically scarred by years of fighting, wants nothing to do with the kid. As the trio travel in search of the boy’s family, they encounter a land filled with righteous holy men and stoic American troops, abandoned corpses and looting villagers, mass graves and marauding youths.
Evoking both classic Italian neorealism and the roots of Iranian cinema’s recent renaissance, Shawkat Amin Korki’s humanistic parable paints a tragic picture of life during wartime. Even those who are shell-shocked and who have had their innocence stolen are capable of hope for a better tomorrow.
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