Osama (Persian: اسامه‎‎) is a 2003 drama film made in Afghanistan by Siddiq Barmak. The film follows a pre-teen girl living in Afghanistan under the Taliban regime who disguises herself as a boy, Osama, to support her family. It was the first film to be shot entirely in Afghanistan since 1996, when the Taliban régime banned the creation of all films. The film is an international co-production between companies in Afghanistan, the Netherlands, Japan, Ireland, and Iran.
In the film, the Taliban are ruling Afghanistan. Their regime is especially repressive for women, who, among other things, are not allowed to work. This situation becomes difficult for one family consisting solely of three women, representing three successive generations: a young girl, her mother, and her grandmother. With the mother’s husband and uncle dead, having been killed in battle during the Soviet invasion and their civil wars, there are no men left to support the family. The mother had been working as a nurse in a hospital, but the Taliban cut off funding to the hospital, leaving it completely dysfunctional with no medicines and very little equipment. One foreign woman working as a nurse in the hospital is arrested by the Taliban. The mother does some nursing outside the hospital and receives payment from the caretaker of a patient, but after the patient dies the mother cannot find any more work.

The mother and grandmother then make what they feel is the only decision they can to survive: they will have their preteen daughter disguise herself as a boy so that she can get a job to support the family. Osama’s grandmother tells a story to Osama about a boy who changed to a girl when he went under a rainbow, in order to help persuade her to accept the plan. The daughter, feeling powerless, agrees despite being afraid that the Taliban will kill her if they discover her masquerade. Partly as a symbolic measure, the daughter plants a lock of her now cut hair in a flowerpot. The only people outside the family who know of the ruse are the milk vendor who employs the daughter – he who was a friend of her deceased father – and a local boy named Espandi, who recognizes her despite her outward change in appearance. Espandi is the one who renames her Osama. The masquerade becomes more difficult when the Taliban recruit all the local boys for school, which includes military training. At the training school, they are taught how to fight and conduct ablutions, and an ablution is taught to boys that should be done when they experience nocturnal emission or come in contact with their wife when they grow older. Osama attempts to avoid joining the ablution session, and the master grows suspicious of Osama’s gender. Osama realizes it can only be so long before she is found out. Several of the boys begin to pick on her, and although Espandi is at first able to protect her, her secret is eventually discovered when she menstruates.

Osama is arrested and put on trial, along with a Western journalist, and the foreign woman who was arrested in the hospital. The journalist and the nurse are both condemned and put to death, but, as Osama is destitute and helpless, her life is spared; she is instead given in marriage to a much older man. Osama’s new husband already has three wives, all of whom hate him and say he has destroyed their lives. They take pity on Osama, but are powerless to help her. The husband shows Osama the padlocks he uses on his wives’ rooms, reserving the largest for Osama. The film ends with the new husband conducting an ablution in an outdoor bath, which the boys were earlier taught to conduct after coming in contact with their wives.

http://www.imdb.com/title/tt0368913/

Read Full Article

The White Ribbon is a 2009 black-and-white German-language drama film written and directed by Michael Haneke Das weiße Band, Eine deutsche Kindergeschichte, “The White Ribbon, a German Children’s Story”, darkly depicts society and family in a northern German village just before World War I and, according to Haneke, “is about the roots of evil. Whether it’s religious or political terrorism, it’s the same thing.”

The film premiered at the 62nd Cannes Film Festival in May 2009 where it won the Palme d’Or, followed by positive reviews and several other major awards, including the 2010 Golden Globe Award for Best Foreign Language Film. The film also received two nominations at the 82nd Academy Awards in 2009: Best Foreign Language Film (representing Germany) and Best Cinematography (Christian Berger).

In Oberösterreichische Nachrichten, Julia Evers called the film “an oppressive and impressive moral painting, in which neither the audience nor the people in the village find an escape valve from the web of authority, hierarchy and violence. […] Everything in The White Ribbon is true. And that is why it is so difficult to bear.”

Markus Keuschnigg of Die Presse praised the “sober cinematography” along with the pacing of the narrative. Keuschnigg opposed any claims about the director being cold and cynical, instead hailing him as uncompromising and sincerely humanistic. Die Welt’s Peter Zander compared The White Ribbon to Haneke’s previous films Benny’s Video and Funny Games, both centering around the theme of violence. Zander concluded that while the violence in the previous films had seemed distant and constructed, The White Ribbon demonstrates how it is a part of our reality. Zander also applauded the “perfectly cast children”, whom he held as “the real stars of this film”.

“Mighty, monolithic and fearsome it stands in the cinema landscape. A horror drama, free from horror images”, Christian Buß wrote in Der Spiegel, and expressed delight in how the film deviates from the conventions of contemporary German cinema: “Director Michael Haneke forces us to learn how to see again”.

http://www.imdb.com/title/tt1149362/

Read Full Article