Traumfabrik Kabul | Kabul Dream Factory Director: Sebastian Heidinger
Germany, Afghanistan 2011 Dari
Films are not discrete objects, but cultural expressions.
Saba Sahar has been a policewoman for 18 years in Kabul. She is also an actress, director and producer. The fearless, incorruptible police officer from Qanoon. She regards her film work as education.
"The goal of my films has always been to show women that we are strong and in a position to do something. We merely have to take it to heart that we want something, in order to achieve it. To be able, you always also must first want. That's the message. I love cinema, because it's a school all people understand. Educated and uneducated people understand cinema, equally. That's why I began working in film."
Traumfabrik Kabul follows Saba Sahar on her quest for financing for a mobile cinema road show in the provinces, "To help show what a woman is."
She started work in the golden era of Afghan theatre & cinema in mid-late 80s, pre-Taliban, and like many others had great hopes for peace with the coming of the Taliban. Instead intellectuals and artists were forced to flee the country.
In one remarkable sequence, we follow her into a spectacular mountain valley. Buying yogurt from village girls. "I like you. You are brave girls." Jamming with village musicians. Playing tabla with one hand, holding her 10-month old daughter in the other.
"From the country of resistance."
Germany, Afghanistan 2011 Dari
Films are not discrete objects, but cultural expressions.
Saba Sahar has been a policewoman for 18 years in Kabul. She is also an actress, director and producer. The fearless, incorruptible police officer from Qanoon. She regards her film work as education.
"The goal of my films has always been to show women that we are strong and in a position to do something. We merely have to take it to heart that we want something, in order to achieve it. To be able, you always also must first want. That's the message. I love cinema, because it's a school all people understand. Educated and uneducated people understand cinema, equally. That's why I began working in film."
Traumfabrik Kabul follows Saba Sahar on her quest for financing for a mobile cinema road show in the provinces, "To help show what a woman is."
She started work in the golden era of Afghan theatre & cinema in mid-late 80s, pre-Taliban, and like many others had great hopes for peace with the coming of the Taliban. Instead intellectuals and artists were forced to flee the country.
In one remarkable sequence, we follow her into a spectacular mountain valley. Buying yogurt from village girls. "I like you. You are brave girls." Jamming with village musicians. Playing tabla with one hand, holding her 10-month old daughter in the other.
"From the country of resistance."
