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| Kurdish Cinema; Movies, drama, TV shows... | |
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| Topic Started: 4th January 2013 - 08:36 PM (27,963 Views) | |
| Brendar | 19th January 2014 - 10:06 AM Post #101 |
 
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Karwan Mazori - Kurdish Hollywood actor Karwan is from Duhok. He has participated in many action movies. The recent one is the Lone Survivor (2013). The movie is based on a true story. Karwan is on the taliban side.  Marcus Luttrell and his team set out on a mission to capture or kill notorious al Qaeda leader Ahmad Shahd, in late June 2005. Marcus and his team are left to fight for their lives in one of the most valiant efforts of modern warfare. IMDb rating: 7.9. Its one of the best movies this year. Trailer:
Edited by Brendar, 19th January 2014 - 10:07 AM.
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| the SUN child | 19th January 2014 - 10:22 AM Post #102 |
ZAGROS-ARYAN
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Yeah I did watch this movie. great actionscenes but also very unrealistic. Overall, not a great movie.
Edited by the SUN child, 19th January 2014 - 10:22 AM.
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| the SUN child | 19th January 2014 - 10:25 AM Post #103 |
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ZAGROS-ARYAN
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But great to see that we've got such an international actor! |
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| Worldwar2boy | 19th January 2014 - 01:33 PM Post #104 |
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I wouldn't call him an international star though, he's more of a side actor etc. I think Bahman Qubadi is the most famous Kurd in cinema world. |
| biji kurd u kurdistan !! | |
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| Worldwar2boy | 19th January 2014 - 01:36 PM Post #105 |
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KRG should hire brilliant directors & create a good script , and do a high production value movie about Anfal. |
| biji kurd u kurdistan !! | |
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| Halo | 19th January 2014 - 09:42 PM Post #106 |
Têkoşer
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Last night when I was streaming on Viaplay, the swedish version of Netflix I found Bekas and För Snön Faller :). There is a bright future for Kurdish film industry. Karzan Kader for example is now in Hollywood and is directing his next movie with a budget over 25 million USD Man of War. Thanks to his success with Bekas. |
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| Worldwar2boy | 26th January 2014 - 07:21 AM Post #107 |
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| biji kurd u kurdistan !! | |
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| Worldwar2boy | 26th January 2014 - 07:23 AM Post #108 |
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Kurds are brilliant artists, scientists. We are smart, we created empires, the first civilizations known to mankind. SK has developed faster & become more tolerant than any other region in the Middle-East. A Kurd invented the artificial heart. If we Kurds had the freedom to do anything in freedom, on our own lands, with our resources, we would easily be in the top 10 most powerful/influential countries. No doubt about that, I am 100% confident. |
| biji kurd u kurdistan !! | |
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| Halo | 14th February 2014 - 02:37 AM Post #109 |
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Têkoşer
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| Brendar | 15th February 2014 - 06:05 AM Post #110 |
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This is a series called Babylon. It is broadcast on Channel 4 in the UK. This is the very first episode. Watch it from 28.00 and you will see a scene where Kurdish people protest infront of the turkish terrorist embassy. Babylon: London's police force is in need of a public image revamp. And Chief Constable Richard Miller, played by James Nesbitt, has found just the woman to do it... American visionary from the world of new media Liz Garvey, played by Brit Marling, sets out to revolutionise the force's PR department just as an outbreak of violence erupts. Original comedy drama directed by Danny Boyle, written by Sam Bain and Jesse Armstrong, featuring an ensemble cast including Brit Marling, James Nesbitt, Jill Halfpenny, Paterson Joseph, Bertie Carvel and Adam Deacon. http://www.channel4.com/programmes/babylon/episode-guide
Edited by Brendar, 15th February 2014 - 06:12 AM.
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| Brendar | 21st February 2014 - 12:47 PM Post #111 |
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Kche Kafrosh - Trailer |
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| ALAN | 27th March 2014 - 11:58 PM Post #112 |
 
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I liked this movie |
| Russian Girenak Joseph, who visited Kirkuk in Kurdistan as a part of his tour throu the 1870 - 1873 AD, who published the results of his trip & his studies later in 1879, in the 4th volume in the Bulletin of the Caucasus department of the Royal Geographical Russian Society estimated Kirkuk's population as many as 12-50,000 people, & he emphasized that except 40 Christian families, the rest of the population were Kurds. As for The Turkmen & Arabs, they have not been already existed at the time. | |
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| Azadi | 28th March 2014 - 07:30 AM Post #113 |
Scarlet Speedster
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Looks like a good movie, I can't wait to watch it! |
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| Zagros | 18th April 2014 - 07:47 AM Post #114 |
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Peace on a gravestone: A glimpse into Kurdish grievances at Istanbul Film Festival I first met Selim five years ago. Just like everybody else, I could not help admiring his positive energy, warmth and innate kindness. The camera, which seemed to be permanently attached to his hands, encapsulated his resolution to make the most of every moment of life. But underneath his unfading smile lies a tragic story… a hardly exceptional one for any Kurd, but a story hushed up and altered for those who grew up in another geography. Selim lost his son, Ozan, in the “mountains,” a euphemism for joining the armed fight of the Kurdistan Workers’ Party (PKK). Despite having recently started a sociology degree at Ankara’s prestigious Hacettepe University, Ozan disappeared on a spring day in 1999 without any previous indication that he might one day take up arms. That started a five-year frantic and uncertain search for Selim, during which he tracked every piece of information about Ozan’s life like an intelligence officer. On another spring day, he received the first call from his son in five years. Ozan arranged an impromptu appointment with his father, requesting a bunch of books, a Walkman and a camera. He died only a week after that conversation between father and would-be prodigal son, reportedly during combat. Selim now tracks bones and yearns for a gravestone – “kêl” in Kurdish – to find closure. That camera, the one that never leaves his hands, is his companion to document the mass graves that are the final resting place of hundreds who died like his son. That camera, the one he carries as if it were attached close to his heart, is in fact a tribute to Ozan’s biggest passion, a way of striving against his loss in the absence of a gravestone… Stones of justice Turkey’s recent history is plagued by those untold stories haunting mothers who have nowhere to mourn their children, sons who are trying to retrace their father’s death, wives who are still waiting for their husbands’ return, with a hope that is dim, yet still alive. The documentary “Endless Grief” (O İklimde Kalırdı Acılar – Kêl) by Zeynel Koç and Cenk Örtülü, screened as part of the Istanbul Film Festival, is one of the most comprehensive and bravest attempts to confront that recent past. Within a brief hour, it makes the audience grasp that the past cannot be left behind in a true sense without solving the problem of what Kurds commonly term “gravelessness.” Over 200 mass graves have been documented and forensic work has been conducted on many of them to identify the victims, but hundreds are still waiting to be opened. Together with his camera, Selim guides us in his journey to capture witness accounts, testimonies and what remains of the lost, may it be a piece of cloth or bullet shells. Throughout the documentary, we quickly discover that his search for inner peace intersects with societal peace and that this is a climate where even the most intimate emotions are inseparable from politics. There we meet Adnan, on the outskirts of Diyarbakır’s town of Lice, a district always prone to tension. He is beyond resentment when he relates how his father was set up. Adnan says that his only regret is not having been able to bury him, “to perform his last offices,” as he puts it. Or Mother Şerife, who tries to translate into words how much pain and suffering she endures following the loss of two of her sons. The most humbling message subtly raised by all these testimonies is that it is not sufficient to pledge peace and change without a firm methodology for achieving it – in other words, without ensuring justice. This goes from hearing the demands for apologies to properly opening the mass graves, in line with international procedures. For instance, instead of exacting the maximum care to retrieve the remains of the victims, authorities have dug them with bulldozers. The acts not only further alienated Kurds, causing more indignation, but were also a blatant breach of the Minnesota Protocol, which was created by an international group of forensic specialists and lawyers to provide detailed procedures for conducting autopsies. Although it is not openly stated, the necessity for a truth and reconciliation process that could establish the circumstances of the deaths underlie the patchwork of testimonies crafted by the documentary. Questions remain unsolved over who was forcedly disappeared, who was executed and who died in actual fighting; questions that will always remain as a barrier between a much-desired societal peace and the inner peace of each person.  Peace requires empathy, communication and goodwill. But its echo rings hollow when people are still searching for the remains of their loved ones. As Selim says in one poem dedicated to Ozan: Every night in my dreams, I see a gravestone A chalk-white stone, without any inscription Every time I go to the cemetery, my eyes search for that stone, in vain… And what may be just a stone for you Is my past, my hope, my blood and my milk “Kêl” gives a compelling account that without closure, there is no sincere reconciliation. And only then may Selim, Adnan, Şerife, Türkan and all the other unnamed families be able to rest, in peace. http://www.hurriyetdailynews.com/peace-on-a-gravestone-a-glimpse-into-kurdish-grievances-at-istanbul-film-festival.aspx?pageID=238&nid=65191&NewsCatID=381 |
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| Zagros | 26th April 2014 - 07:31 AM Post #115 |
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Come to My Voice (Were Dengê Min/Sesime Gel): Istanbul Review Hüseyin Karabey's road-movie follows a Kurdish child and her grandmother's desperate task to find a gun, which could buy their loved one free. Compared to his festival-garlanded 2008 feature film debut My Marlon and Brando-- in which a Turkish actress braves war and all to find her Kurdish lover in northern Iraq-- Hüseyin Karabey's second outing seemingly offers a less solemn and more crowd-pleasing premise. Revolving around a girl and her grandmother's travels and travails to find a much-needed item-- in this case, the very masculine symbol of a gun-- Come to My Voice could easily play well with more mainstream audiences who, years before, have propelled similar lost-and-found films like Children of Heaven or The White Balloon to wider prominence. After its world premiere at the Berlinale's teen-oriented Generation 14plus section in February, Come to My Voice has just scooped the audience-voted People's Choice award at the Istanbul International Film Festival, in addition to a jury-determined Best Music prize. While boasting Feride Gezer's measured performance as a stoic matriarch and Melek Ülger's vibrant turn as the wide-eyed and inquisitive child, the film also provides DP Anne Misselwitz's vivid visual showcase of sweeping rural landscapes, awe-inducing mountains and plains very much dwarfing the protagonists and most of their much-suppressed Kurdish compatriots. While the dynamism renders Come to My Voice accessible to all ages alike, it also belies the film's sharper political edge than Karabey's previous film. The fury shown on the director's non-feature projects during the past five years-- the murdered Istanbul-based Armenian journalist Hrant Dink (No Darkness Will Make Us Forget, 2011), the portmanteau about solitary-confined prisoners in Turkey (F-Type Film, 2012)-- is manifested full-blown here as Berfe (Gezer) and Jiyan (Ülger) contends with brutal Turkish military commanders and their corrupt underlings, and also crooked village headmen, callous militiamen on their own Kurdish side. In fact, it's an unholy alliance between bad elements from both sides that kickstarted Berfe and Jiyan's ordeal. Raiding a Kurdish village after a tip-off, a Turkish military unit fails to find the weapons suggested by the informer; enraged, the captain (Nazmi Sinan Milici) orders all male villagers to be taken away for detention and questioning at the barracks, and told the remaining folk - elderly and children mostly - they would have to hand over 15 rifles and 20 guns within a week in exchange for the release of the men. As Berfe's initial attempts to get her son Temo (Tuncay Akdemir) flounders (the old musket she brought in was angrily dismissed by the captain) and Jiyan more than eager to contribute to her father's freedom (she runs around collecting toy guns, sometimes even in the face of Turkish soldiers), the pair begin their long journey to look for a firearm to submit to the army. Living up to the folktale being told in installments throughout the film - about a fox's long-winded efforts to repair his beautiful but broken tail - Berfe and Jiyan's struggle is drawn-out, as requests for help are repeatedly rebuffed by the community chieftain, smugglers and finally even relatives living in town. FILM REVIEW: Bad Country In the meantime, nearly every one strays beyond the pale to protect themselves or capitalize on the crisis; a sergeant (Savas Emrah Özdemir) offers to sell guns to villagers through a middle man, both of which skimming quite a bit off these deals. Past woes are revealed through details of Berfe's struggling life of poverty, persecution and being rendered a pariah by a village leader whose advances she spurned. And then there are those who are supposedly "our boys": As Berfe and Jiyan make their way through rebel-held territory, slacking gunmen just sit in the shade as they tease the women that they are sure "Temo is being beaten in prison-- everyday". The only kind and kindred souls the pair would eventually run into are three blind storytellers (played by real-life "dengbej" Muhsin Tokcu, Ali Tekbas and Kadir Ilter), whose willingness to play foil at checkpoints-- where they are still hassled by Turkish officers for being "guerilla propagandists"-- would prove to be crucial to Berfe and Jiyan's passage back home. It's perhaps not coincidental that storytellers-- Berfe, the three wise men, and other elderly villages offering their own recollections of life-- are central to Come to My Voice: The oral tradition has always been the key to resistance against oppressors who could burn manuscripts but not erase memories. Among Kurds, passed-down parables are political in itself; with his beautifully-rendered film, Karabey has joined in this ever-louder chorus articulating the anguish of a suppressed minority. Venue: Press screening, Istanbul International Film Festival (National Competition), Apr. 14, 2014 Production Company: Asi Film, Neue Mediopolis Filmproduktion, EZ Films Director: Hüseyin Karabey Cast: Feride Gezer, Melek Ülger, Tuncay Akdemir, Muhsin Tokcu Producer: Huseyin Karabey, Emre Yeksan Screenwriter: Huseyin Karabey, Abidin Parilti Director of Photography: Anne Misselwitz Editor: Baptiste Gacoin Music: Ali Tekbas, Serhat Bostanci, A. Imran Erin International Sales: EZ Films In Kurdish and Turkish 105 minutes http://www.hollywoodreporter.com/review/come-my-voice-were-deng-698853? |
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| Xoybun | 26th April 2014 - 07:38 AM Post #116 |
PERMANENTLY BANNED
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Those British teeth less bastards should make movies about how Britain divided Kurdistan and lay the start for persecution of the Kurds, and they should add how the British actively destroyed all uprisings for freedom in early 20th century.
Edited by Xoybun, 26th April 2014 - 07:39 AM.
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| Brendar | 29th May 2014 - 12:11 AM Post #117 |
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Êk Momik, Du Momik (One Candle, Two Candles) Young Viyan, is forcibly given to wealthy elder businessman, Haji Hemmo. When she runs out of the bedroom and climbs a tree, refusing to sleep with him, the respected elder looses face and becomes the laughing-stock of the town. In return, he punishes her by beating her and locking her up in the bedroom. The more the townsfolk mock him the harder he beats her. Meanwhile, a traveling young artist, Botan tries to reach out to her. This leads to Haji Hemmo's resolve to set her on fire. Imdb http://www.imdb.com/title/tt2958288/ Trailer
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| ALAN | 26th June 2014 - 12:49 AM Post #118 |
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Mrwari drama from EK  |
| Russian Girenak Joseph, who visited Kirkuk in Kurdistan as a part of his tour throu the 1870 - 1873 AD, who published the results of his trip & his studies later in 1879, in the 4th volume in the Bulletin of the Caucasus department of the Royal Geographical Russian Society estimated Kirkuk's population as many as 12-50,000 people, & he emphasized that except 40 Christian families, the rest of the population were Kurds. As for The Turkmen & Arabs, they have not been already existed at the time. | |
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| ALAN | 29th June 2014 - 01:46 PM Post #119 |
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Çpey rabrdû - SK drama in Ramazan |
| Russian Girenak Joseph, who visited Kirkuk in Kurdistan as a part of his tour throu the 1870 - 1873 AD, who published the results of his trip & his studies later in 1879, in the 4th volume in the Bulletin of the Caucasus department of the Royal Geographical Russian Society estimated Kirkuk's population as many as 12-50,000 people, & he emphasized that except 40 Christian families, the rest of the population were Kurds. As for The Turkmen & Arabs, they have not been already existed at the time. | |
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| ALAN | 29th June 2014 - 01:47 PM Post #120 |
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Qa Qa funny drama for Ramazan |
| Russian Girenak Joseph, who visited Kirkuk in Kurdistan as a part of his tour throu the 1870 - 1873 AD, who published the results of his trip & his studies later in 1879, in the 4th volume in the Bulletin of the Caucasus department of the Royal Geographical Russian Society estimated Kirkuk's population as many as 12-50,000 people, & he emphasized that except 40 Christian families, the rest of the population were Kurds. As for The Turkmen & Arabs, they have not been already existed at the time. | |
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| kurdishpatriot | 30th June 2014 - 07:03 AM Post #121 |
secular sheikh
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Best part is when he says: wara xwari, wara xwari!! xD, but i read that the girl would set her self on fire?.. |
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#PROMOTEWOMENRIGHTS They should be able to decide on their own whether they want to take the pill or want an abortion. LONG LIVE KURDISTAN AND LONG LIVE ISRAEL, OUR ONLY TRUE ALLY. "shengal bo ezdi ya", Ezidi namerin, HATA ARAB NAMAYEN NEK SHENGAL! "A society can never be free without women's liberation" - Abdullah Ocalan |
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| Halo | 24th August 2014 - 08:31 PM Post #122 |
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Têkoşer
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One the priz e in Bosnia film festival |
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| Zinar | 24th August 2014 - 08:38 PM Post #123 |
Keke
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i just saw it on turkish news they said ''turkish movie'' bastard turks didnt even mention it was kurdish |
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| Zagros | 12th September 2014 - 05:41 AM Post #124 |
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Yılmaz Güney Film Festival dedicated to Sinjar ANF - BATMAN 11.09.2014 12:30:30 The fifth Yılmaz Güney Kurdish Short Film Festival being organised jointly by the Batman Municipality and the Middle East cinema academy will be dedicated to Sinjar. The co-mayor of the Batman municipality, Gülistan Akel, has announced this with a press statement. Applications for the fifth Yılmaz Güney Kurdish Short Film Festival which will be assessed between 10 September and 10 November in Batman have started. The festival was initiated by the declaration of Gülistan Akel, the co-mayor of the municipality, the deputy co-mayor Semra Güneş, and the executives of the Middle East cinema academy in the hall of the municipal assembly with a press statement. The films wishing to participate will be evaluated between 10 September and 10 October and then the film festival will take place between 9 and 14 December 2014. Co-mayor Akel stated that the fifth Yılmaz Güney Kurdish Short Film Festival will be dedicated to the victims of the Sinjar massacre carried out by the ISIS gangs. Stating that cinema is creating itself by feeding capitalism and individualism, overlooking societies, cultures, differences and other languages in order to serve capitalist modernity, co-mayor Akel said that: “We started out in order to create an alternative cinema and within this framework, we have transformed the Yılmaz Güney Film Festival." ‘Our purpose is to create a free cinema mentality’ Co-mayor Akel, remarking that the festival is a huge opportunity for the new Kurdish generation who are interested in cinema and who want to produce new cultural and artistic projects in their own languages and identities,said: “We aimed to organise the fifth Yılmaz Güney Film Festival as an art project that has a democratic basis, against the industrial market, free, believing in gender equality, and with ecological purposes. Besides that, the festival aims to introduce the historical and cultural richness of Batman and to bring together the directors, producers and actors who are interested in the cinema and who will come to Batman for the festival." Akel pointed out that the festival will bring together the Kurdish movie makers and the people in Batman, and also accelerate the interaction between different cultures. She added that the festival will this year also organise seminars, workshops and exhibitions in order to encourage the young people in the city to gain a basic knowledge of cinema. http://en.firatajans.com/news/news/yilmaz-guney-film-festival-dedicated-to-sinjar.htm |
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| Halo | 3rd November 2014 - 01:12 AM Post #125 |
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Têkoşer
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