Un temps pour l'ivresse des chevaux

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.

Kurdistan isn't in your atlas, but it exists, the land of a people ignored by the post-Ottoman empire boundary makers and now living in eastern Turkey, northern Iraq and north-western Iran. This movie is set in a mountainous part of the Iraq-Iran border where the local Kurds eke out a living smuggling tea and tractor tyres by mule train from Iran into Iraq. (The return cargo seems to be school exercise books – what the mullahs of Iran have got against those I cannot imagine). No doubt they (the Iranian Kurds) are not on President Bush's Christmas card list, but their main customers are likely to be Kurds on the Iraqi side. The main problem though is not the authorities but bandits, eager to knock off the smuggler's loads.

The hero here is 12 year old Ayoub, who has to follow in his father's footsteps after the death of his father on a smuggling trip. As Dad stepped on a landmine this is a dangerous undertaking but Ayoub is determined to earn enough money for a operation to prolong the life (if only for a few months) of his severely crippled and retarded older brother. This sounds like blatant melodramatic manipulation, and it is, but it works.

Why does it work? There's the cinemaphotography, so perfectly lit and composed you might as well be standing there. There is excellent use of hand-held cameras, especially on the trail sequences. None of the actors is professional and the whole thing has a documentary air. Above all, the emotional bonds between the characters ring true. Perhaps when you have next to nothing your family becomes all-important, though the kinship bonds here seen to weaken quickly outside the immediate family circle. Kurdistan is a tough place and people are hard, and there's not much community support for the weak and frail. The young are expected to shape up fast, or fall by the wayside. As for the horses, well, animal rights activists would be run out of town.

Yet there is a stark beauty about the film that makes it hard to dismiss – the slow pace grows on you. Ayoub may be going to grow up as just another tough, ignorant, sexist tribesman, but we glimpse here (he is going to school) that he might do better. This is a remarkable and different film and a very good antidote to the recent stream of romantic comedies.

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.

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.

This film is about the lose of childhood, a similar theme that is very common among many other Kurdish films, including Karzan Kardozi's I Want to Live (2015), and Yilmaz Gunye's The Wall (1983). These three films reflect the reality of the Kurdish people living under oppression in countries of Syria, Iraq, Iran and Turkey.