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I made the film to give another life to this ‘Woman’ with whom I fell in love. I wanted to give her a second chance in life, and also a handsome man.
A book can leave many things to the imagination of the reader, but in the cinema, one cannot.
tells the story of a young woman who struggles to survive while caring for her injured husband, a Jihadist soldier who has fallen into a comma as a result of a bullet wound to his neck.
Abandoned by family, all of whom have fled the village under siege, the woman keeps vigil with her husband, praying for his recovery and confiding to him all the secrets that she has heretofore held hidden deep within her heart.
S2: This film takes on material that is threatening to the Taliban and possibly the Muslim world. S2: You’ve said, “Change doesn’t come through guns, it comes through culture, and women change the culture.” What is the basis for your conviction?
AR: This makes how many centuries that men have governed the world?
In all the religions and civilizations one tells their secrets to the stone, buries it in the earth, and the earth guards these secrets. When one makes a film, one becomes a spoiled child – one shouts, there are a hundred people at your disposition, buh-buh-buh-buh…
And then, in writing, you are condemned to be alone. And there, your ego really takes a very good beating.
Sophia Stein: Your screenplay is based on your best-selling, award-winning novel. Atiq Rahimi: In 2005, I was invited to a literary meeting in Herat, an Afghan city on the border of Iran. “No, no, no, it was a family matter.” It was her husband, an enlightened man and a lecturer at the University, who apparently had killed her. Some weeks later, I left for Afghanistan to meet the family of the poetess, but the family refused to see me. In that moment, I thought, if I were a woman, I would stay close to this man in the coma and just talk to him; tell him all that a woman has in her heart. I needed to think about how the film adaptation would necessarily be different from the book.S2: How did you get into the mindset of your female protagonist at the heart of your story? S2: You have observed that in Europe and the United States, the question is: “To be or not to be?AR: How was it that Dostoyevsky was able to put himself in the head of Raskolnikov, in order to kill? It is not me who enters in the head of that woman; it is rather that woman who enters into my head. He travels, he meets, he listens, he observes, he collects – everything, everything, everything. ” But in Afghanistan, with a dictator, the question becomes: “To say or not to say?I left Afghanistan clandestinely, in 1984, just like that.After walking nine days and nine nights, I crossed the border into Pakistan, and then continued on to France. However, it was not until two years later, that I learned of his death from my father.
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I was in France, in exile, and I could not mourn my brother’s death.