Word: makhmalbaf
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...much more ambitious and provocative 11'09"01: September 11. The conceit is this: 11 directors from five continents each make a film, running 11 min. 9 sec. Some episodes find subtlety, humor, parable in the world's reaction to the event. In Iran (a segment directed by Samira Makhmalbaf), a teacher desperately tries to explain the meaning of the attack to her uncomprehending village school kids. Sean Penn helmed the Manhattan segment in which an old man (Ernest Borgnine), grieving over his wife's death, gets the blessing of sunlight in his dark apartment - because the World Trade Center...
...conceit is this: 11 directors from five continents each make a film, running 11 minutes and 9 seconds. Some episodes find subtlety, humor, parable in the world's reaction to the event. In Iran (the segment is directed by 22-year-old Samira Makhmalbaf), a teacher desperately tries to explain the meaning of the attack to schoolkids who think the worst calamity is when the village well overflows. In Burkina Faso (the director is Idrissa Ouedraogo), some boys spot a man who looks just like Osama bin Laden and scramble to capture him for the $25 million ransom. The Japanese...
...KANDAHAR Before Sept. 11, few knew of Kandahar; few cared about the ravages of civil war and Taliban rule in Afghanistan. Now the world sees the news value in Mohsen Makhmalbaf's tale of a woman crossing the desert incognito to find her sister. Even without the headlines, this Iranian film boasts a visual and emotional magnificence. It has a painter's acute eye for beauty within horror: the gorgeous colors of the burkas that imprison Afghan women; the handsome face of a child in a Taliban school as he expertly assembles a Kalashnikov rifle; the vision of one-legged...
...Kandahar Before Sept. 11, few knew of Kandahar; few cared about the ravages of civil war and Taliban rule in Afghanistan. Now the world sees the news value in Mohsen Makhmalbaf's tale of a woman crossing the desert incognito to find her sister. Even without the headlines, this Iranian film boasts a visual and emotional magnificence. It has a painter's acute eye for beauty within horror: the gorgeous colors of the burkas that imprison Afghan women; the handsome face of a child in a Taliban school as he expertly assembles a Kalashnikov rifle; the vision of one-legged...
TIME: How did it feel to go from journalist to movie star? PAZIRA: When [Kandahar director] Mohsen Makhmalbaf phoned me, I thought, "I?m not an actress. I hope he knows what he?s doing because I?ve never been trained and we have no time to practice." But then I thought, "I?m just going to be the same journalist. I?ll be using the film to share information." It just happens to be my personal story this time. It became an opportunity to talk about a subject that is very close to me, one that I feel...