Iraq in the early 1990 was a devastating land to survive in. When we think of Iraq, the first thing that tends to pop into our minds is the war and Saddam Hussein. But there is another side too - it is perhaps the most notorious country in the world and it goes by the name Kurdistan. Welcome to BEKAS. This is a story about two homeless brothers Zana (6) and Dana (10) who live on the edge of survival. In the beginning of the story they catch a glimpse of Superman through a hole in the wall at the local cinema. Zana and Dana decide that they want to go to America and live with Superman. Once they get there he can solve all their problems, make their lives easy and punish everyone that has been mean to them. Zana, the younger brother, starts to make a list of all people he is going to tell Superman to punish. On top of the list is Saddam Hussein. Dana on the other hand makes a concrete plan for what they need to get there; money, passports, transportation and a way to get across the border. Unfortunately they have neither of those. But in spite of everything they decide to follow the dream.—Karzan Kader

Bekas

Bekas (2012)

Born to be Blue starring Ethan Hawke is a re-imagining of jazz trumpeter Chet Baker's life in the 60's. When Chet stars in a film about himself, a romance heats up with his costar, the enigmatic Jane (Carmen Ejogo). Production is shelved when Chet's past comes back to haunt him and it appears he may never play music again but Jane challenges him to mount a musical comeback against all the odds.—Leonard Farlinger

Born to Be Blue

Born to Be Blue (2015)

The film opens with a long take of the (unexpectedly?) beautiful Iranian countryside, in wide-shot--a tiny-looking International Scout making its way down a winding road only barely noticeable in an unremarkable corner of the scene, while the vehicle's four occupants, recorded in production sound instead of ADR, can be heard quietly bickering about whether or not they've misunderstood their driving directions. Even at this early juncture two things are inescapably apparent about the experience that this film will represent: First, our director sees no reason to explain himself--you know as much about who these people are and where they're going as anyone else, and no more than you're supposed to--and second, if you'll pardon the pun, this film is hardly in a hurry to get anywhere. Through a series of long takes shot at different angles along the route, this anti-scene of four guys gently squabbling about the proper turnoff continues for over five and a half minutes, long after the opening titles would have been over and done with, had there even been any.Eventually the quartet finds their intended destination--a small village carved into a steep hillside and notable to our eyes as the sort of un-even roofed hodgepodge that we'd be less surprised to find in desert Africa. Indeed after finding a young guide on the outskirts of town, our presumptive lead character (and the only one of the four whom we will ever see on camera throughout the film) makes his way literally across the tops of the earthen dwellings that will encompass his universe for the duration of the picture, hopping first up two feet to transit the next interval, and then down again.Kiarostami devotes this opening reel of the film to establishing not just the film's tempo, but also its principal source of mystery--that these four obviously urban Tehranians have checked themselves into the closest semblance of a guesthouse, apparently for the purposes of monitoring the health of an infirmed and elderly matriarch, convalescing at the opposite end of the village. Throughout his long walk across the rooftops with the boy who will be his foil, our lead character--"The Engineer"--inquires repeatedly and with implied familiarity about the old woman's health, the boy's side-mouthed answers revealing either discretion or ignorance; we aren't supposed to know which.By the time we actually discover what these four men are doing here and why they've taken so much interest in the health of an old woman, it no longer really matters to us anymore: Like the characters themselves, we've become immersed in the day-to-day rhythm of this at once surreally alien and improbably familiar little community. Its cranky restaurant matron, her semi-estranged and possibily philandering husband, the arrestingly pregnant and then arrestingly un-pregnant innkeeper, the hauntingly beautiful young woman who milks a cow in darkness so that their collective guests might enjoy just one more locally tricky little comfort from home.The film is described by assorted critics as a mystery, and to that extent they're right: we are meant to wonder, of course, who these people are and how they came to find themselves in such a far-flung place with such a seemingly insignificant agenda (indeed at one point in the film the Engineer's three accomplices become so bored that they literally disappear, never to be seen again). But to describe the film with this single identifier is to entirely miss Kiarostami's point. There is mystery in life, of course, but it isn't the glamorous, maybe-they're-spies kind of mystery that we so often find ourselves escaping into at the movies; it is rather the mystery of mundanity--the strange shooting-script by which all of us on this homey little planet of ours seem to play out the same micro-dramas, the same rivalries, the same petty squabbles. The mystery in life is that it could contain no real mystery, and yet seem so mysterious.

The Wind Will Carry Us

The Wind Will Carry Us (1999)

This is the story of Ana, a first generation Mexican-American teenager on the verge of becoming a woman. She lives in the predominately Latino community of East Los Angeles. Freshly graduated from high school, Ana receives a full scholarship to Columbia University. Her very traditional, old-world parents feel that now is the time for Ana to help provide for the family, not the time for college. Torn between her mainstream ambitions and her cultural heritage she agrees to work with her mother at her sister's downtown LA sewing factory. Over the summer she learns to admire the hardworking team of women who teach her solidarity and teamwork. Still at odds with what her mother expects of her, Ana realizes that leaving home to continue her education is essential to finding her place proudly in the world as an American and Chicana.—smbuvideo

Real Women Have Curves

Real Women Have Curves (2002)

In a hospital waiting room a woman learns her daughter, Solmaz Gholami, has just given birth. The ultrasound test had prepared the family for a boy. The baby, it turns out, is a girl. The joy the mother anticipated turns to terror for she knows her son-in-law's family will abandon her daughter. The old woman flees as the in-laws arrive. On the crowded streets of Tehran - a place where women are not permitted to stay out on their own or smoke in public - two women are also on the run. Arezou and Nargess have just been granted temporary leave from prison but they have no plans to return. They manage to scrounge together enough money for the bus trip to Nargess' hometown, but she lacks proper identification, and the police are searching everyone at the station. Meanwhile, their friend Pari has just escaped from prison in order to have an abortion. Threatened with death by her brothers, she flees from her father's house and meets with a former inmate, Elham, who is now married to a doctor and works in a hospital. Despite her connections, Elham is unable to help Pari in her hour of need. Despondent, Pari wanders the streets and chances upon Nayereh, a woman about to abandon her young daughter. Pari tries to stop her, but it is too late. Soon after, Nayareh, falsely accused of prostitution, is taken into custody by the police. As Panahi's narrative shifts dynamically from woman to woman, their stories culminate with tremendous potency, transforming a shared sense of despair and injustice into one kinship, and even hope.—Anonymous

Filmz

Bekas

2012

Adventure/ Drama

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Duration: 97 min

IMDB Rating: 7.5

Language: ku

MPA Rating:

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