“I’m trying to avoid any nostalgia for past Kabul, or our cinema, or our cultural center. I just tell myself, ‘You’ll have time to mourn for that later,’ because it’s all gone.'
Asked in writing whether she could discuss the situation facing Afghan filmmakers after the Taliban’s reclamation of power last weekend, Diana Saqeb Jamal declines succinctly. “My only thought is we are fucked. Sorry.”
“I’m trying to avoid any nostalgia for past Kabul, or our cinema, or our cultural center. I just tell myself, ‘You’ll have time to mourn for that later,’ because it’s all gone,” Saqeb Jamal tells. “All of us were so hopeful that, 10 years later, Kabul would be a democratic example for the region. Now, we are starting again from zero for the 100th time.”
, director of Venice-premiering “Hava, Maryam, Ayesha” and head of the state-run company Afghan Film.to the world,” Karimi tellsfrom Kiev while eating her first real meal in days. “Normal, ordinary people just change along with each regime. We are the ones who generate real change, which comes through culture, cinema, theater — art that inspires thinking and questions.”
The emergence of a growing film scene in Afghanistan challenged expectations of what was possible in a country plagued by more than 40 years of war. Within hours of the Taliban’s return, public images of women in many areas of the country were already being painted over. There are now more women than ever looking to become directors. When Mani began teaching film at Kabul University in 2014, she had only one female student, but each year the tally grew. Seizing the rare privilege of education, they proved, in her estimation, even “braver, more focused and more determined” than the boys.
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