"Turtles Fly with Yooshij "
created and produced / massod vadiee & arden zahedi-bogucka
Based on "Turtles Can Fly" by Bahman Ghobadi
Music/ Soheil Nafisi and words / Nima Yooshij
Soho Sound People and Dokumuzik Projekts (Uk) 2012
" this video based on Ghobadi's film and Nima Yushij's poem is from the same team that has created the Bashu piece I posted yesterday--these are amazing musico-visual encounters with Iranian cinema--dast marizad Arden Zahedi-Bogucka, Massod Vadiee, Soheil Nafisi and the rest of their team. "
Hamid Dabashi,the Hagop Kevorkian Professor of Iranian Studies and Comparative Literature at Columbia University in New York
Born in Tehran (1967), is an autodidact musician who spent more than 20 years of his life in the Hormozgan region (mostly Bandar Abbas) which strongly influenced his music. Soheil's deep dedication and respect to Persian contemporary poetries, directed him to compose music based on some of Iran's most memorable poems. The way of his singing (accompanied by is Guitar) could somehow be considered as a kind of Iranian Chanson." His latest album is "Rira". "Yare Aziz" is from his "Tranehaye Jonoob" album
"Turtles Can Fly" - Bahman Ghobadi (2004)
Kurdish Iranian filmmaker Bahman Ghobadiâ€™s third feature film, Turtles Can Fly (Lakposhtha Parvaz Mikonand, 2004) is like his two previous and very successful features, A Time for Drunken Horses (2000) and Marooned in Iraq (2002), again set in Kurdistan and with native, nonprofessional actors speaking in Kurdish. This is a place where international borders separate the Kurdish community into Turkish, Iraqi, Syrian, and Iranian groupings, and they both symbolise and identify the external political oppression under which the Kurdish people suffer. In Turtles Can Fly, the specific setting is Iraqi Kurdistan close to the Turkish border, and the events take place in 2003, just prior to the American invasion of Iraq, when the local Kurdish population was anticipating some sort of liberation that such an invasion might generate.
The story is set mostly inside a Kurdish refugee camp, populated almost entirely by young orphans whose parents have been killed by Saddam Husseinâ€™s military. The children scrounge for everything, and many of them seem to belong to a gang that is led by a resourceful young teenager known as â€œSatelliteâ€ (Soran Ebrahim). Satellite has gotten his nickname on account of his being the only person in the camp who can set up a TV satellite dish and thereby connect the Kurdish inhabitants to the outside world -- an external world which may someday bring â€œdeliveranceâ€ (from Saddam Hussein's tyranny -- as a consequence of an American attack on Iraq). Many of the children in the camp are crippled from land mine explosions, and Satelliteâ€™s most faithful lieutenant, Pashow, has a deformed leg, forcing him to hop around on crutches. Nevertheless, one of Satelliteâ€™s main "businesses" involves organising the camp children to risk further disabling injuries by going out in the countryside to disarm and collect landmines for resale in the black market.Satellite soon becomes enamoured with Agrin, a very young teenage girl accompanied by her older brother, Hengov (who is also known as the â€œArmless Boyâ€ for obvious reasons). Agrin and Hengov also carry about with them a blind 3-year-old child, who we later learn is actually Agrinâ€™s son, born as a result of her having been raped by Iraqi soldiers. Agrin has been emotionally damaged by that rape, and throughout the film she seeks to get rid of her blind child by abandoning it in the wilderness or drowning it.