Saturday, 22 October 2016

The Dark Wind Full Movie Reviews And News

In this article we write a complete information of The Dark Wind hollywood movie reviews and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

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Hollywood Movie The Dark Wind Full reviews And News:

Kurdish director Hussein Hassan closes out the 21st Busan Film Festival with an ambitious film about the 2014 Yazidi genocide and social tradition in Iraqi Kurdistan.
The Yazidi, an ethnically Kurdish religious community with roots dating back to Mesopotamia, are one of Iraq’s most culturally distinct communities. As such, they are also considered devil worshippers by ISIS, which commenced a brutal campaign to eliminate them in 2014. That attempted genocide is one of the nuggets at the heart of The Dark Wind, the expectedly depressing but current third feature from Kurdish filmmaker Hussein Hassan (Narcissus Blossom), closing this year’s Busan International Film Festival.

Surprisingly brisk and straightforward in its storytelling, The Dark Wind has a lot on its plate other than genocide. Women have been pawns in armed conflict since time immemorial, and the broader impact of wartime rape is examined, as is the never-ending conflict between tradition and progress.

Though it is the first feature film from Iraq, or anywhere, to deal with the horrific pogrom against the Yazidi, Hassan and the film have drawn criticism (and a defamation lawsuit) from Yazidis claiming the film unfairly paints them as hyperconservative and backwards. It’s easy to see their argument — the central character is made a pariah for a crime perpetrated upon her — but Hassan is also aiming at mainstream drama that highlights the gruesome persecution of an entire people. The timeliness of the subject matter and the accessibility of Hassan’s filmmaking should send The Dark Wind on a lengthy tour of the festival scene, and careful, targeted marketing could also make it viable art house material in urban markets worldwide.

The story starts in the Shingal region, with the happy engagement of Yazidi soldier Reko (director-actor Rekesh Shabaz) and Pero (Diman Zandi, luminous), a union blessed by both families. The relative tranquility of the village is shattered when ISIS troops swoop in one day, razing the town to the ground, shooting resistant men, burning symbols of culture and raising an Islamic State flag in place of the Kurdish one. The sequence is short and to the point, making it more affecting and appalling than the budget should allow for. Hassan and cinematographer Touraj Aslani keep the images uncomplicated and conventional, letting the action speak for itself.

During the firefight, Pero hides with several other women, but they are found by ISIS and promptly taken from their home and trafficked. From behind the wire fencing of the refugee camp the Yazidi are now living in, Reko spends the next several months searching for Pero every chance he gets. When he finally locates her (in Syria) and brings her home, her presence is a constant reminder of what happened in Shingal — something no one wants to recall. Matters take a turn for the worse when it’s discovered Pero is pregnant and Reko must decide if he has it in him to marry his "ruined" fiancee.

Under normal movie circumstances, a woman’s rape is fodder only for the relevant man’s character development. Though there is plenty of agony spread among Pero’s friends, family and community, Hassan and co-writer Mehmet Aktas (to their credit) make at least an attempt to illustrate Pero’s emotional struggle (granted, much of it is through ratty hair and a chalky complexion). Pero’s mother Ghazal (Maryam Boobani) is one of the few in the camp willing to try and help Pero on her own terms before breaking down and asking Yazidi gods for help. Reko’s father Hadi brings the disconnect between traditions that put family honor above all else and progress in the form of addressing rape as a terror tool into sharpest relief (and it’s offense over this retrograde thinking that is the basis for the aforementioned lawsuit). When Reko wonders out loud, “What is wrong with my family?” you really hope he’ll be the better man.

Hassan hasn’t reinvented the wheel, aesthetically or thematically, with The Dark Wind, but he has managed to insert enough little details to give it broader scope. Chatting one evening before the raid, Reko and a friend joke about how all of Kurdistan is an oil field, yet they haven’t had a pay raise in years. The fragile peace and inhuman anonymity of the UNHCR camp makes the stress bubbling beneath the surface palpable. Shabaz infuses Reko with a determined gait and thousand-yard stare that masks an inner conflict, but it’s really Zandi — in her quietest moments — that makes the horrors of war most vivid.

Production company: Mitosfilm
Cast: Rekesh Shabaz, Diman Zandi, Maryam Boobani, Adil Abdulrahman
Director: Hussein Hassan
Screenwriter: Mehmet Aktas, Hussein Hassan
Producer: Mehmet Aktas
Director of photography: Touraj Aslani
Production designer: Jalal Saed Panah
Costume designer: Gulsan Ozer
Editor: Ebrahim Saeedi
Music: Mustafa Biber
Casting: Helket Idris
Venue: Busan International Film Festival (closing night film)
Sales: Mitosfilm

In Kurdish and Arabic


No rating, 89 minutes

Mah-e-Mir Movie Reviews And News

In this article we write a complete information of mah-e-mir  hollywood movie news and reviews. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

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Top Movie Mah-e-Mir Reviews And News:

A gifted young poet finds himself in a skirmish against modern Pakistan’s literary elite in director Anjum Shahzad's Urdu drama.
Mah-e-Mir, which was selected to represent Pakistan in the 89th Academy Awards’ foreign-language film category, has an admirable aim in bringing the works of one of Urdu poetry’s most beloved figures to the big screen. By shifting between scenes of present-day urban Pakistan and its 18th century royal court, director Anjum Shahzad illuminates the role of the artist who dares to stand up against the powers-that-be — whether a gruff modern newspaper publisher or a mogul draped in pearls and silk, issuing orders from a cushioned throne.

'Mah e Mir'
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Released May 6, the film didn’t make much of an impact at the local box office in Pakistan (it was steamrolled by the release of Captain America: Civil War on the same day). Its Oscar prospects are similarly unimpressive, since Mah-e-Mir boils down to a two-and-a-half-hour talk-fest that poses some interesting questions but fizzles out long before its credits roll.

Its submission for the Oscars comes at a time when political tensions are high between rivals Pakistan and India, which boasts a much bigger and flashier movie industry. Following a recent military dispute in Kashmir, the two countries recently instated a cross-border ban on their film personalities and musicians.

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Fahad Mustafa plays the dual roles of Jamal, an impertinent newspaper columnist and poet, and Mir Taqi Mir, the poet and visionary whose 300-year-old couplets on love and madness are still widely quoted — and sung — today.

The scruffy, underfed Jamal is given to chain-smoking and hanging out in Karachi’s bohemian coffee shops with his best friend, Nawab (Alyy Khan). One day, when he sees some intellectuals on a TV panel discussion claiming that modern poetry can’t hold a candle to the classics, he phones in to the show with some arch words for the experts. Later, Jamal and one of the intellectuals, Dr. Kaleem (Manzar Sehbai), find their lives becoming intertwined, and the younger man comes to develop a grudging respect for the classic styles of poetry as perfected by the likes of Mir Taqi Mir and another historically beloved Urdu poet, Mirza Ghalib.

The rough-edged Jamal also begins to understand the depths of emotion and madness evoked in Mir’s works when, on a crowded bus ride through the city, he spies the delicate foot of a beautiful woman (Iman Ali). Modest in a sheer veil, she exudes grace and refinement, and he’s hooked. “I caught a glimpse of her eyes. It seemed the entire universe was shining there,” he tells his bemused pal over coffee. Seems the lady has a taste for fine poetry, too — and before long, the two are SMSing each other exquisite Urdu couplets. Meanwhile, Jamal maintains a prickly relationship with a famous young female poet called Naina Kanwal (Sanam Saeed).

Over long sequences exploring Jamal’s friendship with Dr. Kaleem and his growing obsession with the veiled beauty, and a parallel track set in the 1700s where Mustafa and Ali play the court poet Mir and his lover, the courtesan and dancer Mahtab Begum, Shahzad seeks to revive interest in the subtle charms of great poetry. It’s a respectable target to aim for, but Mah-e-Mir falls short of its mark.

For a film supposedly devoted to the beauty of speech, its subtitles are surprisingly sub-par (the songs aren’t subtitled at all), and Shahzad’s direction seems to take cues from the TV serials he’s known for — there are innumerable aerial shots of the city that don’t add value, and his actors tend to stand in one spot and talk ... and talk and talk — in overly long scenes.

The men’s performances are strong throughout. Mustafa captures the inner fire of a misunderstood writer (though we never see him, you know, writing) and does a decent job in bringing the Urdu poetry-heavy dialogue to life. Sehbai adds gravitas to his role as the elder poetry professor, and Khan puts in a spirited performance as Nawab. The women do not fare as well — Saeed simpers through her annoyingly mannered performance as the empowered female poet, and Ali’s face seems frozen into one expression as she delivers her lines in an unnaturally low growl.

Although praised by Pakistani critics for its willingness to celebrate the beauty of the spoken word in a region where cheap Bollywood knockoffs predominate, Mah-e-Mir squanders its good will by drawing out its dialogue and overstaying its welcome.

Distributor: Hum Films, Eveready Pictures
Production company: Miraqsm Media
Cast: Fahad Mustafa, Iman Ali, Sanam Saeed, Manzar Sehbai, Alyy Khan
Director: Anjum Shahzad
Screenwriter: Sarmad Sehbai
Producers: Badar Ikram, Sahir Rasheed, Khurram Rana
Director of photography: Rana Kamran
Production designer: Fiza Ali Meeza
Editors: Ehtesham Khan, Waqis Khan
Music: Syed Shahi Hasan