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63

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H.Morowat studied atMoscow Film Institute, soonafter he migrated to Europesince than he made manydocumentary films. An applefor paradise is his first fictionfilm experience; he then gotmuch attention and popular-ity among the other cinemasand film makers. He earnedmany awards from differentfilm festivals. The para-graphs you read aboutMorowat are an exclusiveinterview with him about hispersonal life, activities, hisworks and his last creationan apple from paradise.

The summery of movie (anapple from paradise):The story in the film is abouta father who is in search ofhis son. He lost all his threesons once he had. A fatherwho lost his two sons atJihad and now he lost theother son of him, while hewas going to school hoppingthat one day after finishinghis studies he may return atthe village and be a scholarin his mosque to serve hisvillage people, but he waslost.

The first scene of the filmbegins while a man who trav-

els to Kabul for gettingmoney that he paid to someone and in search of his sontoo. He then approachestowards the school, wherehis son studies, suddenly hefinds that Yousaf left theschool three days back andno one has his contact infor-mation. Then he starts mov-ing to find a clue for hisbeloved Yousaf. The Fatherapproaches to the old manwho he assigned to be theguardian for his son to askhim about his lost son, andthen he realizes that the oldman deceived him andYousaf and his son was

An interviewwith

Mr. H. Morowat

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handed to religious people,in hope of earning paradise,his son was handed to thehands of notorious religiousbargainers. Then he thinksthat he lost his son, the oldfather now nocks door to

door to find at least a clue tofind his son, and in everyyoung boy he finds the simi-larities of his son and startsloving them. He is extremelyhopeless about finding hislost son he searches allplaces just like crazy man,he searches all crowed high-ways and crowded streets ofKabul city, but he could notfind his son.

Q. At first Mr. Morowat,please tell me about yourself, your educational back-ground and your activities?

A. well, After finishingHabibia High school at 1983soon after I joined theMoscow film Institute whichlasted at 1988, I as a filmDirector, then from 1989 to1992 finished my PhD in thesame institute, my desireswas to make use of my abili-ties earned in the tenure ofmy education, unfortunatelymy wishes was the same ashundreds of my classmateswhich remained just adream. The suffering sce-nario of my beloved countrystopped me returning home.

I was compelled to be a selfin exile.

Q. What are your previousactivities and experiences?

A. An apple from paradise isthe first fiction film of mine,though I have made a fewdocumentaries before, theFilm Called "Arozo" was one

of the symbolic movies, themain character in the moviewas an electric vehicle whichtalks about the pain and thewishes. The other documen-tary which was based on thefamous and unique musician

of the country Mr. Amir JanSaburi, the story follows inthe documentary was sym-bolic which I wanted to showthe affects and results of warand political game on thecanvas of art.The other film I made wasZUGHALE SABZ "green char-coal" again the story wasbased on a miniaturist artist,fortunately the three men-

tioned films were screened atthe Tashkent, Moscow andSwedish festivals.

Q. When and how did themovie's first script andsketch appear in your mind?

A. I must say that the firstsketch of the film is notmine. I rather say that it wasfrom a good friend of mineMr. Dawood Wahab, whichwas suggested by a dearfriend of mine Mr. SedeqBarmak, the script of the filmwas a joint effort of me anddear Barmak. I must thankboth friends, if they were notthere for me it was somehow hard to make it possible.

Q. Why there is no picture of

the lost boy in no parts of themovie?

A. There are two reasonsbehind; first, the suicideattack itself is totally aninvisible phenomenon, wewanted, I must say that whyI stress on the word "we"because making a film is thetotal effort of a team work

not of an individual. Wewanted to keep invisibility inall parts of the movie sincethe suicide attacks are invis-ible phenomenon, so for yetno one had seen a suicideattacker . Same is the case

for our viewers in the filmthat they wouldn't see thatface.

The second reason: besidethe ugly face of suicideattacks, we wanted not toforget the sentiments in thefilm, I mean there could beanyone instead of thedeceived character, or anyother suicide attacker, they

may have relatives or rela-tions just like the characterin the film. After the act hecommits such a tragic inci-dent. In this case the maincharacter in the film that hefaces all violence and thefatherhood sentiment, hepretends that any youngman is his lost son. In thiscase we didn't want to createa limitation in the role of ourcharacter for our viewers andourselves. Our film's sorrowsand pain's depth are muchdeeper then Yousaf andYaqub who are the charac-ters of the film even itcrossed the time and placelimitation, stretched to theirMajesties Joseph and Jacob.

Q. What is the reason of not

showing boy's life storyinstead of father?

A. I guess story telling in filmhas to portray how beautiful-ly you execute in terms ofbeing so artistic and senti-mental rather then telling itdirectly.

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Q. In spite, the subject ofyour film is about killing andbloodshed but except at thebeginning of the film youhaven't shown directly anyblood related violence orissues, why?

A. Killing is not an art, nei-ther showing blood and vio-lence, but showing theabsolute life and its beautiesis in fact an art. I rather payattention to unpleasantaffects and results of war orviolence on the lives, orshowing it directly.Q. Could the War Cinemaplay a vital role in eradicating

the violence from the socie-ty?

A. Movies on the war andviolence subject have a neg-ative affect on the society. Ithink violence creates vio-lence and feelings may cre-ate feelings either in the reallife or in the picture, nodoubt it has direct influenceon the society.

Q. The shooting and the totalfilm making duration. Andthe problems you faced whileshooting it?

A. The duration or the prepa-ration of the film took almostabout two months, theshooting periods took 33days and the total making of

the film took about sevenmonthsOh problems bunch of it, firstthe electricity problems,security and lack of profes-sional/ technical artists, thisare the basic problems thatother film makers face in thiskind of projects too. I mustaccept that resources studiowise which were available in

my country "star group" and"Barmak film" there bestavailable resources were atmy service. Lucky to have agood team, last but not leastmy all friends those manag-ing it in all parts, especially

in the technical areas, withthe real pleasant work envi-ronment and feelings, I fromeach one in the process amwhole heartedly thankful.

Q. Your film at "Didar" festi-val earned the main award,was it screened in any otherfestivals and how aboutawards?

A. Yes, the first exhibition ofthe film "an apple from para-dise" exhibited at "Didar"film festival of the centralAsian countries at Tajikistan,the 2nd exhibition was atPoland, Goa film festival inIndia, Walyodwlat in Spain,Yosan in South Korea and it'sscheduled this year to beexhibited in festivals inIreland, Kazakhstan,Armenia too. MeanwhileScandinavian countries mayalso screen it in the comingsummer... An apple fromparadise at the "Didar" Filmfestival earned two mainawards, a best picture awardand the best actor award (Mr.Rajab Hassinov). I hope atthe coming film festivals wecould earn many awards for

the cultural prosperity of mybeloved country. At home 'anapple from paradise wonseven awards at differentcategory at the TOLO TV'sFilm Festival"

Q. What is the conditions forAfghan Film Makers abroad?Can we hope to create a new

wave line in Afghan Cinemaabroad?

A. Well, the conditions ofAfghan Cinema abroad issome how not satisfactory.Those who are professionals

know that it may be impossi-ble to make a quality produc-tion with personal or limitedequipment. There are peo-ple some how unprofessionalthinks that it is easy to makea film with the limited equip-ments, at the end of the daythey produce a film that islacking quality. So no expec-tations from such produc-tions.

Unfortunately we Afghansare lacking Cinema criticsboth at home and abroad.The Cinema is just like trian-gle as any other art, meansthat an artist, the viewersand the critics, if it lacks anyof the angles it is incomplete.In quality or any irresponsi-ble productions needs con-structive critics.

Q. What is your next project?

A. Oh we work on two proj-ects; the projects are ofgreat importance to be madeat home. If we reach to anyclue we would tell you. Ialways hope to continuouslymake projects on differentuntold stories. I believe in

one thing, if I don't makeany film people may notabuse me, but if I make afilm lacking quality peoplemay abuse me. Therefore Iprefer to be away rather thenat the crowed.

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The name of the film that hasnot yet been announcedwhich is in process to bemade. It is about the killingestimated to 200 to 300Afghan refugees in an InIranian camp called SAFEDSANG.

The film based on a truestory of afghan refugees at

the previous years in anIranian camp, a heart break-ing story of a man, while hetakes his wife to the hospitalfor the delivery of his child,there on the spot he isdetained by the Iranianpolice officers, then he iscarried to the camp, as thefilm director said, ( ZubairFarghand)

The story is the reflection ofAfghan refugee's situation inIran, the film director thinks.

It is said that some otherintense incidents are also inthe film which are so tragic,even film makers were notwilling to screen the heartbreaking scenario of the inci-

dents in the film. The esti-mated killings of 200 to 300Afghan refugees in previousyears occurred by Iranianmilitary forces in SAFEDSANG.

The film director comment-ed: "we researched aboutthe case for about two tothree years that we shouldn't

portray something which isbased on lies. The purpose ofmaking this film is to registera complain to the authoritiesof Iranian Government theworld should know about. Itis our right that our voiceshave to be heard, we havetalked to the victims of thiskind of intense incidents inHirat and other places ofAfghanistan."

In response to the Iranianreactions: he said: while wewere interviewed by someinternational media, then theIranians were scared andstarted justifying the issue inthe internet world. I want tocentralize that we live in acountry which revolutions,

different type of govern-ments and different kind ofideologies were practiced.We know that countriesbased on a school ofthoughts would accuse someto defend themselves. It isnot necessary that Iranianblame us any further.

The total cost of the film is

about seven hundred thou-sands USD in collaborationwith some private companies(star group) the process is inprogress, intending to bereleased within few months.The film making took placeat the SAFED SANG, Placeespecially designed and buildfor the shooting purpose atKabul north.

Though millions of afghanrefugees live in Iran, this isthe first expedition or a film,in spite of showing atrocitiesat SAFED SANG camp, itexplains the untold stories orsituation of Afghan refugeesin Iran, since then the filmhas become a hot issueamong many circles.

A film: Iran's atrocities with Afghan refugees

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Twenty-five percent is a doc-umentary movie directed by

Ms. Diana Saqeb. It wasshown in England parliamenton behalf of the internationalwomen's day, 8th March.

The running time is 47 min-utes but it was prcised to 30minutes to be shown for theEngland parliament mem-bers. Concurrently, BBCPersian TV had shown the

movie and it has been lion-ized among Persians.

Twenty-five percent is basedon six woman members ofAfghan Parliament, showntheir activities and everydaylife , and these parliamentar-ians try to constitute benefit-ed rules for the women andchildren moreover of theirown life.

It is important to mentionthat one of the parliamentar-

ians and who is one of theparticipants in the movie Ms.Sabrina Saqeb attended thescreening of the movie in UKparliament and she spokeabout afghan women'srights.

Screening of Twenty Five Percent in Spain

(Twenty-five percent) show in UK parliament

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