Zeit der trunkenen Pferde

Beautiful movie about the Kurdish people, living in the mountains separating Iran, Iraq and Turkey. Strong performances by the children in this movie. Look at Amaneh's eyes and tell me that you don't see the desperation. Another film in the tradition of Gabbeh and The Children of Heaven. Simple but poignant.

In his most recent film, "A Time for Drunken Horses," Director Bahman Ghobadi depicts the hardship of life in the Kurdish region straddling the border between Iran and Iraq.

At the beginning of the film, a truck full of children makes its way through the snowy Iranian mountains. The large group of children sing in Arabic about how the winding road makes them older. You get the sense that they don't really know what they are singing about, but the song is indicative of how many of these children will be thrust into the realities of adulthood with little warning and even less preparation.

A young Kurd, Ayoub, must avert government brutality and raise the money to pay for an operation for his ailing younger brother.

Their father has just been killed by authorities and the teen must work to provide for the rest of the family. The only way he can raise the money is by smuggling goods across the border from Iraq to Iran, risking extremely cold temperatures, land mines and military raids.

Much to his credit, Ghobadi uses locals instead of professional actors throughout the film. The children who portray the three major characters (Ayoub, his sister Amaneh and their young, disabled brother Madi) give brilliant, fresh performances. Ayoub and Amaneh are convincing as a brother and sister attempting to hold their family together.

These children shed real tears. In a particularly impressive moment, Ayoub wrestles to move a drunken mule who won't budge as troops with rifles converge on his convoy. The power of his fear and frustration lights up the screen.

By the same token, some of the adult actors are unprofessional and wooden. Minor characters, like Ayoub's uncle, are painful to watch as they attempt to act. But thankfully these characters are periphery.

As an artistic film coming from the Middle East, one might not expect much from the technical aspects of the film. The cinematography, however, rivals some of the slickest Hollywood productions. The sweeping ice-blue snow that lines the mountains in the film provides a stark contrast with the characters' bright costumes, particularly Madi's trademark, tiny yellow raincoat.

The textured sound design adds depth to the picture. The rich, crisp amplification of even the tiniest sounds are an example of the film's attention to detail. From the buttoning of a coat to the smacking of lips, small sounds stand out and give the film an intimate feel.

The film derives its title from the mules that are given alcohol so they'll traverse the snowy terrain.

At the end of the film, when Ayoub is trying to get Madi across the border, the drunken mules turn out to be a blessing in disguise.

And the ambiguous final shot will make you cringe.

Briskly paced, the film unearths beauty in simplicity. Ghobadi clearly is a talented director, and in this film about growing up too fast he paints a beautiful, sad picture.

With their mother long dead, twelve-year old Ayoub becomes the head of the family over his four brothers and sisters. Taking up the dangerous smuggling runs of his father, Ayoub is put in an even more difficult situation when he learns that his youngest brother, the severely handicapped Madi is getting steadily worse and will need an operation to live any longer than the next few months. With the dangers involved, Ayoub sets out to make the journey and the money to get Mani the operation he needs.

I had never heard of this film before I watched it, nor had I heard anything about it – I just was interested to see an Iranian film (my first I think). Despite having now read the many comments on this site about the film, I must confess that I was not as taken by it as everyone else seems to have been. What it does well is to present us with quite a convincing view of the general hardships and lifestyles of those living in this area and, as such it is pretty interesting. However when you take a look at the plot, it doesn't actually fit with the film's aim of realism. Firstly not a great deal happens and the film is not as consistently involving as it really should have been – even as a documentary style film it has several points where it drags quite heavily. The actual subject of the film rather undermines the reality of the situation, even if it is used to emotionally involve the audience easier than a straight documentary may have done.

What I mean by this is the plot device of Madi – in the Western world I can accept a story where others will really put themselves out for others fianically; however in this situation I found it to be unconvincing that Ayoub would risk the immediate future of the rest of his family for the sake of Madi who, lets be honest, was never going to live for very long even with the operation. If he was my brother I would do anything, but I didn't buy that they would be able to spend the money knowing that they would save Madi but maybe condemn the whole lot of them to starvation etc. It did make me more emotionally involved in the film but I have to wonder how much more involving it would have been if Madi's suffering would have been just yet another unchangeable part of this family's situation.

The cast are pretty good considering the fact that none of them are actors and, in contrast to many Western movies, it is the children who are vastly superior to the adults. While many of the grownups seem uncomfortable in front of the camera and only act natural when in crowds, the children are best in the smaller moments. In particular Ahmadi's Ayoub is a very sympathetic character and is a good way to get into the story; likewise it is very difficult not to get emotionally involved when you see Ekhtiar-dini crying and crying over just one of his daily injections. However out of the rest of the cast there isn't enough material to go around and too few of the ensemble cast have much to do but hang around and look deprived! The direction is great and manages to blend the beauty of the scenery with the desolation of the lives to good effect – that sounds a bit pompous but I can't describe it any other way!

This is a slow film that doesn't have the plot that it deserved and it may alienate the casual viewer but it is still worth the effort. The acting of the main children is very convincing, the direction captures the beauty of Iran as well as the sheer grind of the characters' lives and the film is mostly interesting. Only weaknesses in plotting stop it from being better.

The documentary style of this movie doesn't put us away from the drama of life in this Kurdish village in Iranian soil but on the border with Irak. People there make a living by smuggling goods over the border subject to the constant risk of mines and ambushes. This involves children as well as adults. Life is particularly hard for children who have also to work for a living either wrapping up objects in the towns or carrying heavy packages on their shoulder or conducting mules carrying them across the border in the middle of the harshest weather conditions and a hostile landscape, to be sold on the other side. This is also the story of a family of orphan children, one of them being a crippled boy whose siblings treat with extreme care and tenderness, trying to earn money enough to take him to Irak to be operated otherwise he'll die soon. The image style is simple and unadorned. The images speak indeed for themselves. This story tells us not only how people live in that region of the globe, showing their customs and culture, but also how poverty and hardness cannot untie there the bonds of love in the bosom of the family. Maybe something we could learn in our western societies.

I wasn't sure where this movie was going for the first 15 minutes, but before long I was drawn into the story like the rest of the audience. This could be considered in the "Indy" film class, but whatever rough edges it might have only add to the impact of the story. Reason tells me it was fiction, but I really had the feeling we were there, or at least that one of the characters was filming the whole thing with a handicam.

The filmmaker did what he set out to do: He make a film that makes us care about some of his people. The conditions these people struggle under are appalling, and are made all the more difficult by politics. My girlfriend and I left the theatre wondering where we could find out more about these people and what can be done for them.

The young actors, especially Madi, are as good as - and perhaps better than - any $20 million Hollywood superstar. This is Film, not a Hollywood formula flick, and the story is worth seeing, however bleak it may seem at times.