اسامه (۲۰۰۳) - کارگردان : صدیق برمک - نویسنده : صدیق برمک


Osama (2003) - Director : Siddiq Barmak - Author (Writer) : Siddiq Barmak



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اسامه (۲۰۰۳) - کارگردان : صدیق برمک - نویسنده : صدیق برمک


اُسامه نام فیلمی افغان، به کارگردانی صدیق برمک کارگردان افغان، محصول سال ۲۰۰۳ است. داستان فیلم سرگذشت دختربچه‌ای است که درزمان حکومت طالبان در افغانستان، با لباس و ظاهر یک پسر، وارد اجتماع می‌شود.

صدیق برمک درباره فیلم خود گفته‌است: «اسامه یک تراژدی واقعی در دورانی است که هیچ کس حق تصمیم گیری برای خود نداشته‌است.»


خلاصه فیلم :

فیلم با این جملهٔ علی شریعتی آغاز می‌شود «خدایا مرا از آنانی قرار ده که دنیاشان را برای دینشان می فروشند نه از آنها که دینشان را برای دنیا شان.» در نسخه بین‌المللی به جای این جمله، عبارت«I can not forget but I can forgive» (من نمی‌توانم فراموش کنم اما می‌توانم ببخشم) از نلسون ماندلا نشان داده می‌شود. پس از آن تصاویری از تظاهرات زنان برقع پوش در کابل می بینیم که خبرنگاری خارجی مشغول فیلمبرداری از آنهاست. پلاکاردهایی دست زنان است که روی آنها نوشته شده: «ماسیاسی نیستیم» «ماگرسنه ایم» «ما بیوه هستیم» «ما کار می خواهیم» و ... نیروهای طالبان به زنان حمله و آنها را پراکنده می‌کنند. مادر اسامه در بیمارستان کار می‌کند، طالبان به بیمارستان می‌آیند و از او می پرسند آنجا چه می‌کند؟ مادر که اسامه را زیر چادرش پنهان کرده، پیرمردی را که بستری است نشان می‌دهد و می‌گوید برای مداوای پدرش به بیمارستان آمده. مردی که پیرمرد، پدر واقعی اوست، اسامه و مادرش را با دوچرخه به خانه‌شان می رساند. مادر اسامه به توصیه مادر پیرش، موهای دختر را قیچی می‌کند و او را با ظاهری پسرانه به دکان شیرفروشی یکی از دوستان قدیمی شوهرش(که در جنگ با روس‌ها کشته شده بوده)می برد. یکی از نیروهای طالبان سراغ اسامه می‌آید و او را به اجبار همراه بقیه پسران به «مکتب» می‌برد تا تعلیمات دینی و نظامی ببیند.ملا به پسرها روش غسل گرفتن را یاد می‌دهد. در «مکتب» با دیدن خون قاعدگی اسامه، مطمئن می‌شوند او دختر است و زندانی اش می‌کنند.روز محاکمه، فیلمبردار خارجی را تیرباران می‌کنند ولی قاضی به درخواست «ملا» اسامه را به عقد او در می‌آورد. ملا، اسامه را به خانه اش می‌برد که زنان دیگرش هم آن جا زندگی می‌کنند. با صحنه‌ای از غسل ملا، فیلم تمام می‌شود.


بازیگران :

نام بازیگر ......... نقش

مارینا گلبهاری ......... اسامه
محمد نادر خواجه ......... ملا
محمد عارف هراتی ......... اسپندی
زبیده سحر ......... مادر

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جوایز :
جایزه گلدن گلوب بهترین فیلم خارجی (۲۰۰۴)
جایزه دوربین طلایی جشنواره کن (۲۰۰۳)


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اُسامه
Osama

پوستر فیلم اسامه
کارگردان : صدیق برمک
نویسنده : صدیق برمک
بازیگران : مارینا گلبهاری، محمد نادر خواجه، محمد عارف هراتی، زبیده سحر
موسیقی : محمدرضا درویشی
توزیع‌ کننده : یونایتد آرتیستز
تاریخ‌های انتشار : ۶ فوریه، ۲۰۰۴، آمریکا
مدت زمان :  ۸۳ دقیقه
زبان : دری


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Osama (2003)
DVDRip | MKV | 698 x 550 | AVC @ 2336 Kbps | 79 min | 1.44 Gb
Audio: Pushto AC3 2.0 @ 224 Kbps | Subs: English (.srt) French, Dutch, German, Italian (embedded)
Genre: Drama | Afghanistan

The first movie produced by Afghanistan filmmakers after the fall of the Taliban, Osama is a searing portrait of life under the oppressive fundamentalist regime. Because women are not allowed to work, a widow disguises her young daughter (Marina Golbahari) as a boy so they won't starve to death. Simply walking the streets is frightening enough, but when the disguised girl is rounded up with all the boys in the town for religious training, her peril becomes absolutely harrowing. Golbahari's face--beautiful but taut with terror--is riveting. The movie captures both her plight and the miseries of daily life in spare, vivid images. At one point, her mother is nearly killed for exposing her feet while riding on the back of a bicycle; for the entire scene, the camera shows only her feet, with the spokes of the wheel radiating out behind as she lowers her burka over them.



IMDB 7.4/10

http://www.imdb.com/title/tt0368913/



Director: Siddiq Barmak
Writer: Siddiq Barmak
Actors: Marina Golbahari, Mohammad Arif Herati, Zubaida Sahar, Mohammad Nadir Khwaja
Rated: PG-13
Runtime: 79 min

The Taliban are ruling Afghanistan, they being a repressive regime especially for women, who, among other things, are not allowed to work. This situation is especially difficult for one family consisting solely of three women representing three successive generations. All the males in their family have died in various Afghani wars. The mother had been working as a nurse in a hospital, but regardless of she not being allowed to work, the Taliban has cut off funding to the hospital. The mother and grandmother make what they feel is the only decision they can to survive: they will have the preteen daughter masquerade as a boy so that she can get a job to support the family. The daughter, feeling powerless, agrees despite being scared as if the Taliban discover her masquerade, she is certain they will kill her. Partly as a symbolic measure, the daughter plants a lock of her now cut hair in a pot so that her lost femininity can flourish. The only people outside the family who know of the ruse are the milk vendor who employs the daughter - he who was a friend of her deceased father - and a local boy named Espandi who recognizes her despite her outward change in appearance. Espandi renames her Osama. The masquerade becomes more difficult when the Taliban recruit all the local boys to school, which includes military training.

The movies are a little more than a century old. Imagine if we could see films from previous centuries -- records of slavery, the Great Fire of London, the Black Plague. "Osama" is like a film from some long-ago age. Although it takes place in Afghanistan, it documents practices so cruel that it is hard to believe such ideas have currency in the modern world. What it shows is that, under the iron hand of the Taliban, the excuse of "respect" for women was used to condemn them to a lifetime of inhuman physical and psychic torture. No society that loves and respects women could treat them in this way.

The heroine of the film, Osama (Marina Golbahari) is a pre-adolescent in a household without a man. Under the rules of the Taliban, women are not to leave the house without a male escort, or take jobs, so Osama, her mother and grandmother are condemned to cower inside and starve, unless friends or relatives bring food. They do not. Finally the grandmother suggests that Osama cut her hair and venture out to find work, pretending to be a boy.

This story is told against a larger context of institutional sadism against women. An opening scene shows women in blue burkhas holding a demonstration -- they want the right to take jobs -- and being attacked by soldiers who begin with water cannons and eventually start shooting at them. Obviously Osama is risking her life to venture out into this world, and soon she's in trouble: She is snatched away from her job and sent to a school to indoctrinate young men in the ways of the Taliban.

There it is only a matter of time until her real sex is discovered. The punishment handed down by a judge is revealing: This child becomes one of the many wives of a dirty old man, a mullah who keeps his young women as prisoners. At that, Osama gets off lightly; another woman in the film is buried up to her neck and stoned for ... well, for behaving like a normal person in a civilized society.

The movie touches some of the same notes as "Baran" (2001), an Iranian movie about an unspoken love affair between a young Iranian worker and an Afghan immigrant who is a girl disguised as a boy. The film is not as tragic as "Osama," in part because Iran is a country where enlightened and humanistic attitudes are fighting it out side by side with the old, hard ways. But in both cases Western audiences realize that to be a woman in such a society is to risk becoming a form of slave.

What is remarkable is the bravery with which filmmakers are telling this story in film after film. Consider Tahmineh Milani's "Two Women" (1999), which briefly landed her in jail under threat of death. Or Jafar Panahi's harrowing "The Circle" (2000), showing women without men trying to survive in present-day Tehran, where they cannot legally work, or pause anywhere, or be anywhere except inside and out of sight. The real weapons of mass destruction are ... men.

Who will go to see "Osama?" I don't know. There is after all that new Adam Sandler movie, and it's a charmer. And "The Lost Skeleton of Cadavra" is opening, for fans of campy trash. I'm not putting them down. People work hard for their money, and if they want to be entertained, that's their right. But brave dissenting Islamic filmmakers are risking their lives to tell the story of the persecution of women, and it is a story worth knowing, and mourning. In this country Janet Jackson bares a breast and causes a silly scandal. The Taliban would have stoned her to death. If you put these things into context, the Jackson case begins to look like an affirmation of Western civilization.


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Osama (2003) - Director : Siddiq Barmak - Author (Writer) : Siddiq Barmak


اسامه (۲۰۰۳) - کارگردان : صدیق برمک - نویسنده : صدیق برمک


























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