Lakposhtha parvaz mikonand

It would be hard to imagine a more pertinent and relevant film than "Turtles Can Fly," an Iran/Iraq co-production that, like a modern day version of "Forbidden Games," looks at the horrors of war through the eyes of its most helpless and innocent victims - children. Set in a poor village located in Kurdistan, just a few steps from Iraq's barb-wired border with Turkey, "Turtles Can Fly" begins right before the American invasion of that Arab country in the spring of 2003. Many of the children of the village are orphaned refugees who earn money by finding, defusing, and then selling the many active land mines that lie strewn across the barren countryside. This is literally how most of them make their living. The main character is a teenaged boy who goes by the name of Satellite (one of his many duties is to hook up satellite dishes for the villagers' TV's) who, much like a pint-sized Fagin, sends his gang of kids - many crippled and missing limbs - out on daily missions to forage for mines. Another major character is a young girl who was raped by the soldiers who killed her family and who now carries the burden of "shame" that comes with having had a child out of wedlock and whose actions in this realm ultimately lay the groundwork for the story's final tragedy.

Given its harsh subject matter, "Turtles Can Fly" - which features wonderful performances from a group of children, some of whom have themselves lost limbs to landmines - is not always easy to watch, but there is a surprising amount of humor in the movie, as well as a tender-hearted compassion for its characters that makes it a compelling, moving experience. Much of the humor comes from the near-surreal juxtaposition of a Medieval existence and mindset with devices of modern technology such as trucks, television sets, satellite dishes etc. The protagonist's no-nonsense, sardonic approach to life and the people around him also generates some much-needed humor.

But, ultimately, this is a poignant, haunting movie that opens up a world largely unfamiliar to those of us living out our far more comfortable lives in the West. The movie is basically a series of slice-of-life vignettes that help us to understand the appalling conditions under which people in that part of the world are forced to survive. Yet even as they eke out some sort of existence against the greatest of odds, these youngsters still find time to laugh and play and fall in love, a fact that is bound to strike a responsive chord in viewers the world over. For the film is a heartbreaking and vivid reminder that when adults play at their games of war, it is the children of the world who suffer the most.

Among the hundred reasons I could list for you to go see this film, the first is the main character Kak "Satellite." He is truly a unique character - the likes of which I've never seen before. It is pretty impressive for a filmmaker to create something new - an on screen person so real, so normal, yet so different than anything we've seen. From the opening moments of the movie you feel you are getting to know a real human being. Satellite and the refugee children whose trust and love he's earned are the stars of this film. I don't think I've ever seen child performers better than some of these kids - if you were blown away by the children in movies like "City of God," this is a another one to look at in terms of performances. Stylistically this film is in a different category - it's a beautifully realistic movie - it's narrative unfolds effortlessly. You never feel you are watching a carefully crafted plot. You feel you are observing events that are happening - and yet it all, in retrospect, is well planned and crafted. The filmmakers and actors deserve much credit for creating a movie with its own touching and realistic voice.

Sometimes when I experience a film that is working, I am amazed at all the chance events that occurred to bring it to my soul.

Film is a collaborative endeavor, so right at the start you need the various chance meetings that bring a team together, plus all the chance occurrences in each of their pasts that make them valued collaborators. That's true with the viewer as collaborator too, but there you have the additional mechanism of market forces. That collection of boundaries and channels is profoundly fickle and arbitrary, so if an artwork finds itself to you through commercial means, its been through a cosmic pinball machine with millions of lost siblings.

Sometimes — nay often — the subject of the film is about chance as well. That's the case in the uniquely cinematic notion of noir, which imposes a notion of arbitrariness of fate on ordinary people. Usually the noir "chance" is a result of those external, collaborative constellation of chance I mentioned earlier.

Now this. People living simple lives caught up in war, decades and decades of it, that rumbles into their lives by accident. You, dear reader, may choose to see this in the context of realism, of near-documentary. That's easy to do: the actors are all refugee children from the area. Their disfigured bodies are genuine. Their faces absolute. The situation is upon us. But I cannot escape seeing this as noir shown in the large.

The key idea of noir is that the viewer by his or her existence, bends the world of the film in such a way that coincidence, chance, manipulates the citizens of that world in odd ways that matter to us. Sometimes its mere amusement, a cruel bargain. In nonfilm life, real life of pain, this happens too, as decisions are made — often in remote and protected places — that change lives, that perturb by chance.

Here we have that folded: the reality of noir politics; the politics of noir film. It works in part because the kids connect. The one false ring here is that of the two main characters, one is a teenage girl. We learn of her special misery, and that forms the core of the construction. But she is lovely, beautiful in a pure sense that is non-Arab or Kurd in nature. This film is made by a Persian about Arab Kurds. In truth, there is scant racial homogeneity among Arabs: the designation is like "Hispanic" and is the identification is linguistic. But the features of this girl are not native to the area. Its as if we had Audrey Hepburn playing a slave girl. Surely there is a Persian/Aryan subtext here. Would we connect more if the girl were more typical? It hurts to think not.

But otherwise, the thing is so true, you will be swept up in it. Orphans who survive by clearing mines, many of them limbless. Wait until you see an armless boy collecting mines with his mouth to survive. Wait until you see all this with cinematic scope, framing and intimacy when required. There's no experimentation here: here cinematic techniques are all safe, muted for effect.

Here's the interesting thing for me. The construction, story-wise, is complex. It builds and elaborates. It has many threads. It mixes delicate, human things with grand, soft and puzzling ones. It fails. By that I mean it fails in controlling the construction. It ends badly. The shape is twisted and broken. Its bad storytelling. And yet that's so apt, and so reflective of the reality it references you wonder if it was deliberate, or merely a chance.

(There's a business about "trading arms" that's a bit precious.)

Ted's Evaluation -- 3 of 3: Worth watching.

"Turtles Can Fly," the haunting new film from Iranian writer/director Bahman Ghobadi ("A Time for Drunken Horses"), begins with an arrestingly beautiful image: A young woman (Avaz Latif), resolute in her manner, stands barefoot on a rocky ledge, contemplating a leap that will surely end in death. The landscape is gray and forbidding; the light is cold; the tone ominous. Then the camera comes closer to the actress' face, wreathed in tangled brown hair, and we realize, with a start, that she is a child.

Ghobadi's film is a story of wounded children, a devastating reminder of the costs of war. It's set in an Iraqi village near the Turkish border, in early 2003, as the villagers await news of an American invasion. As they try to set up a satellite dish, a key player emerges: a boy known as Satellite (Soran Ebrahim), with Coke-bottle glasses and a pushy, ever-yelling confidence. He's the expert in this operation, in the way that kids worldwide seem to know more about technology than their elders, and he's also the ringleader of the village children, who follow him like loyal acolytes.

Satellite, in his bulldozer way, soon catches the eye of Agrin, the girl we saw in the opening scene, and he's dazzled by her, gazing at her with Mooney eyes. "I've been looking for a girl like you," he tells her. She, orphaned by war, takes care of her two brothers — one is armless, maimed by a land mine; the other is a toddler — and ignores Satellite. There's an air of quiet tragedy about her, the reason for which is explained late in the film, in a scene so wrenching it's almost unbearable to watch.

The performances in the film — all by nonprofessional actors — vary in quality. Ebrahim has some touching moments as Satellite but rarely varies his voice from a shout; it suits the character's almost corporate like personality but eventually becomes wearying. But Latif, as the tragic Agrin, makes the most of her few lines; she's calm, astonishingly beautiful and skilled enough to let us see the heavy weight on this grown-up child's shoulders.

Ghobadi and director of photography Shahriar Assadi linger on the vast landscape, with its bleak fields and desolate, branch less trees, and create some beautiful effects with shadows. (In one shot, the hills glow under a night-blue sky as the tiny shadow figure of a child appears between them.) And the director's eye for heartbreaking detail is keen. In this harsh, desperate world, a child cries, with no hands to wipe away his tears. Others stare at the camera, looking far older than they should, as if seeking the end of a nightmare.

It's an excellent work Ghobadi did. When the movie finished I couldn't leave the chair for the next 10 minutes. I ran to the toilet to finish my crying. It reminded me of how little I'm aware what's going on in the world, even next door to where I was born and my own childhood.It reminded me that the humanity in me hasn't died yet but needed to be woken up. It's about a tough life where the kids are in charge of adults and more mature than them. The movie gives a clear picture of a bunch on refugee Kurds on their own land. Ghobadi cleverly draws the picture of a disaster in the Middle East: The Kurds, who has been on that land for thousand of years but still don't own a flag and their struggles between Turkey, Iraq,Iran and America.

Any one, who is interested in a bit of information about what's going on over there as well as the other problems in the area should see this movie. A black comedy in some ways when you can't help smiling while crying.