In ‘Cinema Jazireh,’ a Woman Dresses up as a Man in Taliban Afghanistan in Search of Her Son, Hope

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The movie “Cinema Jazireh,” Turkish filmmaker Gözde Kural’s second feature, takes place under Taliban rule in Afghanistan. She penned, directed, and edited this film alongside Bünyamin Bayansal. This film will have its world premiere during the Crystal Globe Competition of the 59th edition of the Karlovy Vary International Film Festival (KVIFF) on Thursday night.

As Leila, a gamer now, I’ve been through the unimaginable – witnessing my family’s brutal massacre. All that remains is a burning desire to reconnect with my lost son, Omid. In this cruel world where being a woman means being insignificant, hope seems like a distant dream. Yet, in the face of despair, I make a bold and risky move. I metamorphose my identity entirely and embark on a treacherous journey. Every second of hesitation could spell doom, making each step a battle for survival.

The KVIFF website praises the skillfully produced second movie that portrays a tale of suppression, compelling characters to adopt masculine identities they wouldn’t choose in a free nation or assume feminine roles against their will. This film unfolds in a setting where personal freedom is limited.

The ensemble cast of the joint production between Turkey, Iran, Bulgaria, and Romania titled Cinema Jazireh features Feresteh Hosseini (known for her roles in Parting and Tsunami), Mazlum Sümer, Ali Karimi, Hamid Karimi, Meysam Demanze, and Reza Akhlagrad. The team behind the project includes producers Kural, Milad Khosravi, and Bulut Reyhanoğlu. The production companies involved are Toz Film Production, Seven Springs Pictures, and Kos Kos Films, with additional co-producers Front Film, Avva Mixx Studios, Orion, and Soberworks.

The initial aspect of Kural’s story revolves around a female character who spent her life in Istanbul, yet her roots trace back to Afghanistan due to her ancestry. After the passing of her mother, she embarks on a journey to fulfill her mother’s final wish: to be laid to rest in Afghanistan.

Kural discussed various topics with THR, including her affection for Afghanistan, the possibility of her upcoming film being set there, and the significance of hope in our contemporary world.

The theme of searching for a boy named Omid, which symbolizes hope, in Cinema Jazireh resonates with the director’s personal experiences and observations from their travels to Afghanistan at a young age. They were moved by the resilience and defiance displayed by people despite enduring war, corruption, injustice, poverty, and other hardships. This encounter inspired them to explore the paradox of wanting to live more fiercely when death feels imminent, which became the emotional core of both the film and themselves.

This theme of hope is particularly relevant today, not only in Taliban-controlled Afghanistan but also in many other places where regimes build power through fear and war rhetoric. Hope serves as a source of strength and endurance for individuals and communities, becoming an essential form of resistance against darkness.

The director does not have a familial or national connection to Afghanistan, but they share a deep human bond with the country due to its ongoing suffering and neglect by the world. They believe that understanding the struggles of others leads to a deeper connection with them, and their experiences in Afghanistan have shaped both their personal and professional growth as a filmmaker.

The characters in the movie are based on true accounts of people’s lives, although they lived during different times and under varied circumstances. I compiled these life experiences, which I heard, witnessed, read about, or personally encountered, within a fictional framework. These individuals and their struggles gave me a sense of obligation as a storyteller.

Cinema Jazireh is not a real physical location, but in a way, it exists everywhere. The name symbolizes more than just a place; it represents the need to narrate, remember, and give form to what often remains unspoken. “Cinema” stands for storytelling, preservation, and sharing, while “Jazireh,” meaning “island,” suggests a refuge and a sense of isolation. It can sometimes offer safety, but it may also carry feelings of solitude.

In this sense, Cinema Jazireh is both a sanctuary we retreat into and a space we create to share our inner experiences. It speaks not only to Afghanistan but to many other places where similar experiences remain invisible or unheard.

Yes, I was aware of the traditions involving young women dressing as men and boys entertaining men in Afghanistan before making the film – bacha posh and bacha bazi. These practices, while seemingly different on the surface, are both consequences of the same system. Seeing how this same system causes harm in such distinct ways, depending on gender, was distressing to me. One child is forced to adopt another identity to access power; the other becomes a victim of that same power.

What I found most striking was not just these practices themselves but what they revealed about how rigid gender roles can disconnect children from their own identities. As a filmmaker, my goal wasn’t to present these issues in a didactic or graphic manner but to portray the emotional undercurrents, silences, survival strategies, and subtle forms of resistance. In the movie, these realities are explored not directly but through atmosphere and feeling.

The themes and topics of the film seem very universal to me. Being a filmmaker from Turkey, located between the West and the East, allows me to grasp intricacies that might otherwise be overlooked and build connections between cultures and stories.

In crafting this movie, personal experiences from my home country greatly influenced me. We reside in a system that’s growing increasingly authoritarian, where justice is tightly controlled by a dominant power group, and the state seems disconnected from the people and their needs. People no longer feel secure. This system oppresses, silences, and stifles anyone who doesn’t fit its mold. It applies not just political pressure but also emotional and social stress. Being immersed in this situation undeniably impacted the film’s mood, setting, and emotional landscape, as well as its characters.

Though the movie takes place in Afghanistan, the themes it tackles, such as oppression, identity, resistance, isolation, and quiet perseverance, are universal and highly relevant to many other locations. These issues transcend borders, resonating in societies grappling with similar challenges.

I aimed to shape the film’s tone in a way that transcends geographical boundaries. By using a local narrative, I wanted to create a reflective surface where diverse audiences can identify pieces of their own realities, fears, and aspirations. For me, the balance between the specific and the universal is the essence of the movie. I hope that viewers from all corners of the world will ponder: Where do I recognize these same patterns in my life, and how do I react to them?

Were you filming in Afghanistan and when? How did you obtain permission to do so?
The movie was filmed approximately a year and a half ago, during the Taliban’s rule. Due to security reasons, I cannot reveal the exact date or location of the shoot.
Regarding permissions, it’s a fascinating tale that deserves its own film. To protect everyone involved, I prefer not to share specific details.

How safe or risky was the production?
We had prior experience with productions of this nature, having filmed my previous movie, Dust, right in Kabul. As expected, we encountered complications during filming, but our team handled them diligently.
We collaborated closely with local contacts and tackled challenges through careful planning and communication.

Are the actors Afghan, Iranian, Turkish, or from elsewhere?
Casting was a meticulous process. I sought actors not only skilled but also deeply invested in delivering genuine, impactful performances.
Fereshteh Hosseini, an Iranian actress of Afghan descent, was the ideal choice for her role due to both her talent and presence.
Hamid Karimi, our Norwegian-Afghan actor, brought depth to the complex character Waheed through close collaboration.

Mazlum Sümer, from Turkey, was recommended by a friend and made his feature film debut with this project. Although Dari is not his native language, after months of dedicated work, he brought an authentic touch to the role.
I struggled to find someone who embodied Zabur until I met Mazlum. The moment I saw him, I knew it was him. I remember thinking, “This is Zabur.” His smile and gaze truly moved me.

Most of our Iranian cast members were recommended by our co-producer, Milad Khosravi. We discovered Ali Karimi after watching countless auditions. He hails from Iran as well.
Other cast members, including Meysam Damanzeh and Reza Akhlagirad, all delivered powerful emotional performances and helped bring the story to life with authenticity.

It appears the movie is jointly produced by Turkey, Bulgaria, and Romania. What motivated the co-producers from these countries to get involved with this project, specifically Afghanistan or were there other factors?

None of the co-producers had a personal connection to Afghanistan. Instead, they were deeply moved by the story itself. I consider myself fortunate that the film’s themes and messages transcended borders and connected people around a shared human experience.

What will you work on next, and does it involve Afghanistan as well?

I am now focusing on going back home and working on a new film set in Istanbul. This movie will be a dark comedy that delves into social tensions and the effects of collective pressures on individuals’ lives. Although its style differs from my previous work, it still centers around giving voice to those affected by political and social struggles, exploring themes of identity, freedom, and resilience. With this project, I aim to shine a light on intricate community dynamics, power relationships, and personal resistance, telling a story that feels relevant and deeply human. As I continue my journey as a filmmaker, I plan to keep addressing political and social issues.

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2025-07-10 13:55