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(objects clattering)
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(machine whirring)
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(soft music)
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(Mariam): So many aspectsof Afghan culture
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have been systematicallydestroyed, or erased,or forgotten.
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The Afghan films archivehas been preserved,
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almost entirely intact,
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through all of these years,
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where so many other thingswere burned,
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were looted,
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or blown up.
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(soft music)
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The Afghan Films archive,
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through the effortsof the people who work there,
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who felt so stronglyabout the work that they did,
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they managed to preservethese films
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and these recordsof all of these otherAfghanistans that existed
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before this recentperiod of iconoclasmand destruction.
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Because they believedthese films
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had something to giveto the present moment.
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(film reel clicking)
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(cars honking in the distance)
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(helicopter whirring)
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(soft flute music)
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(birds chirping)
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(seagulls calling)
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(city soundscape)
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(horns honking)
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- I'm always interestedin archives as an artist,
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as a filmmaker,and as a teacher.
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And I've been making work
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in and about Afghanistan
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for a number of years.
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And for me it wasreally exciting to find out
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that Afghanistan has this
incredibly rich and deep
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cinematic history,
of which I was totally unaware.
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And then to realize that...
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most other people
were also totally unaware of it,
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it was like finding
a hidden treasure.
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And then thinking,"Here's somethingI can actually do
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to start bringing someof those historiesback into circulation."
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(drumming, crowd chattering)
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What is really extraordinaryabout looking at these films
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is that they all tell ussomething really important
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about Afghanistan as a nation,
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and how it envisioned itselfat the moment that those filmswere made.
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(carnival music, cheering)
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(indistinct conversation)
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(energetic music)
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(singing in foreign language)
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(soft string music)
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(Middle Eastern music)
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(soft guitar music)
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(Mariam): When I first wentto the Afghan Films archive,
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the physical plantof the buildingwas really deteriorating
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so they had actualleaks in the archive.
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And we were reallyout of luck
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in trying to figure outwhat was available to see.
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(soft music)
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(man speaking foreign language)
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(birds chirping)
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(indistinct chattering)
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(Middle Eastern music)
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(horse galloping)
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(horse whinnying)
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(Mariam): Engineer Latifis the most prolificAfghan director.
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Probably the most beloved one,as well,
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among his peers, and I thinkalso amongthe younger generation
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of Afghan filmmakers.
(horse whinnying)
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Because he's made filmsthat are touchstones,
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like Epic of Love.
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And because he madeat least one film a year
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for so many years.
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(whirring)
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(eerie music)
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(soft music, deep male vocals)
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(upbeat music)
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(indistinct chattering)
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It's so good to see you.
- Nice to see you.
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00:18:32,077 --> 00:18:34,680
(Mariam):... the original
building from '68.
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00:18:34,746 --> 00:18:37,249
My father's the presidentof Afghanistan.
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So there are security concerns.
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But it does, I think,open some doors.
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Not at the archive,necessarily,
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because I've been workingwith them for so long,
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it predates my fatherhaving this job.
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But it does givethe possibility to help themwith certain things.
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00:19:02,674 --> 00:19:04,243
I think it's important
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for these films to bemore widely availablein Afghanistan
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and I want to helpAfghan Films
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to digitize the entire archive.
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And of course, the first stageof doing anythinglike digitization
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is to try to understandwhat you actually have.
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(upbeat string music)
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(Mariam): The viewof Afghanistanoutside Afghanistan
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is so monolithic.
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And I think,
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the earlier Afghanistansthat existed...
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00:20:03,802 --> 00:20:07,039
Afghan intellectualism,Afghan modernism,
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Afghan leftism...
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All of these other histories
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are actually presentin this archive.
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And to see them acted outon film,
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it really changes the waythat people thinkabout Afghanistan.
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00:20:25,223 --> 00:20:27,859
(soft flute music)
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00:20:28,961 --> 00:20:31,663
We've been seeing it,especially in the pastfew years,
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00:20:31,730 --> 00:20:34,733
these incidentsof really extreme violence.
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00:20:34,800 --> 00:20:37,603
And it's importantto be reminded
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that there were decadeswhen Afghanistan
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was not a placewhere violence was normal.
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(children singing)
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00:21:17,643 --> 00:21:20,545
(birds singing)
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00:21:29,087 --> 00:21:31,723
(background chatter)
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00:21:32,591 --> 00:21:35,160
(camera clicking)
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00:21:44,369 --> 00:21:46,138
(camera clicking)
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00:21:59,217 --> 00:22:02,054
(singing in foreign language)
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00:23:00,378 --> 00:23:03,181
(Middle Eastern music)
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00:23:08,453 --> 00:23:11,757
(drums beating, trumpeting)
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00:24:09,447 --> 00:24:11,783
(soft flute music)
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00:25:07,305 --> 00:25:10,108
(pop rock music)
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00:25:21,119 --> 00:25:24,089
(music gradually fades out)
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00:27:13,431 --> 00:27:16,501
(woman singing
in foreign language)
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00:28:26,604 --> 00:28:29,074
(children playing)
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00:29:38,510 --> 00:29:42,013
(plane taking flight)
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00:29:50,588 --> 00:29:53,191
(dramatic music)
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00:31:06,631 --> 00:31:08,700
(explosions)
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00:31:43,167 --> 00:31:45,737
(crowd shouting)
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00:32:17,769 --> 00:32:20,438
(helicopter whirring)
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00:32:24,075 --> 00:32:26,577
(car honking)
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00:33:55,166 --> 00:33:57,301
(soft clarinet music)
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00:35:19,717 --> 00:35:22,053
(crowd shouting)
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00:35:46,711 --> 00:35:50,181
(children singing an anthem)
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00:36:12,870 --> 00:36:17,675
- This is... negative.
No, positive.
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00:36:17,742 --> 00:36:20,311
(woman): Yes, it's positive.
135
00:37:08,593 --> 00:37:11,162
(blues music)
136
00:37:14,131 --> 00:37:17,902
You see very differentkinds of films being made
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at different times.
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This is a historyand a series of historicalshifts that you can trace.
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00:37:25,810 --> 00:37:28,546
And it's one of the reasonsthat the archive is so valuable
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and it provides suchan important, kind of,
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way to look at Afghan historythat is impossible to findanywhere else.
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And what's valuable about it
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is not only what you seeon the film,
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but how the films were made.
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You know, all the clues
that are embedded,
and how the films were made,
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00:37:46,897 --> 00:37:50,134
and how they
were made differently
in the different times.
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00:37:51,869 --> 00:37:54,739
(woman singing
in foreign language)
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00:38:45,656 --> 00:38:47,591
(woman humming softly)
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00:39:46,517 --> 00:39:49,153
(soft chiming music)
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00:41:14,839 --> 00:41:17,241
(man singing)
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(Mariam): Afghan filmsis a state film institute.
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00:41:21,078 --> 00:41:24,648
So, the scripts all hadto pass through approval
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by a censorship board.
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00:41:26,951 --> 00:41:29,253
But, I think, very much unlike
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what you see in Chinaduring the same kind of period
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where things were attributedto a workshop,
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you can't really fitthe communist feature filmsfrom Afghanistan
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into a seriesof authorless films,
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00:41:41,732 --> 00:41:45,736
because they are very muchthe product of singularartistic visions.
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(soft music, cars honking)
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00:42:17,768 --> 00:42:20,738
(Mariam): There are particularfilms that I saw
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and I just fell in lovewith those films.
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00:42:23,340 --> 00:42:25,309
For example, Akhtar the Joker
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by Engineer Latifis an extraordinary film
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and I've never seenanything else like it.
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00:42:31,482 --> 00:42:34,618
Beginning with this directaddress to the camera,
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00:42:34,685 --> 00:42:37,154
by Faqir Nabi playing Akhtar.
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00:42:37,221 --> 00:42:41,759
And he's this completelyunreliable narratorof his own life.
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And you can see why
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00:42:59,643 --> 00:43:02,880
they would ask for this projectto be made
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00:43:02,947 --> 00:43:04,548
based on Zariyab's novel
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00:43:04,615 --> 00:43:08,786
because it is a realexcoriation of the decadence
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00:43:08,852 --> 00:43:13,090
of a certain western-influencedbourgeoisie
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00:43:13,157 --> 00:43:14,925
during the mid '70s
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(Akhtar speaking)
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(laughing)
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00:43:24,535 --> 00:43:26,337
And the character of Akhtar
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is this young manfrom the working-class
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00:43:28,339 --> 00:43:32,076
who has, sort of, adopted,almost as a mascot,
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00:43:32,142 --> 00:43:34,645
by a family from thisupper-class.
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00:43:36,347 --> 00:43:39,550
And it's a reallytragic story.
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(screaming)
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(laughing)
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(snipping)
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00:44:31,201 --> 00:44:33,871
(percussive march music)
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00:45:03,834 --> 00:45:06,336
(jets roaring)
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00:45:42,739 --> 00:45:45,209
(laughing wickedly)
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00:46:39,129 --> 00:46:42,432
(fighter jets roaring)
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00:46:44,067 --> 00:46:46,637
(explosions)
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00:47:52,536 --> 00:47:56,373
(people shouting,
chanting in the distance)
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00:48:20,964 --> 00:48:23,300
(eerie music)
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00:48:55,032 --> 00:48:57,901
(cell door rattling)
193
00:49:18,088 --> 00:49:20,624
(people shouting on television)
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00:49:20,691 --> 00:49:22,893
(man on TV): The choruses sungby the youth,
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00:49:22,959 --> 00:49:25,629
and social organizations,are valuable memories
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00:49:25,696 --> 00:49:27,698
of the universal unityof the people of Afghanistan,
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for the supportof the liberatingsouth revolution,
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00:49:31,101 --> 00:49:34,638
and is indicativeof unshakeable unity
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(cheering, shouting)
200
00:50:23,086 --> 00:50:26,323
(all): Allahu Akbar!
Allahu Akbar!
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(soft a capella, male vocals)
202
00:51:16,072 --> 00:51:19,443
(singing continues)
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00:51:26,950 --> 00:51:29,586
(indistinct chattering)
204
00:52:26,176 --> 00:52:29,312
(waves lapping, birds chirping)
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00:53:25,168 --> 00:53:28,171
(soft, deep music)
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00:53:53,530 --> 00:53:55,465
(explosion)
207
00:54:46,282 --> 00:54:48,852
(shouting, gunshots in distance)
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00:54:52,822 --> 00:54:55,258
(cars honking)
209
00:56:07,831 --> 00:56:10,700
(soft music, crickets chirping)
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00:56:50,039 --> 00:56:53,109
(wind blowing)
211
00:56:55,044 --> 00:56:58,414
(eerie chiming music)
212
00:57:06,122 --> 00:57:09,192
(soft flute music, drumming)
213
00:57:18,234 --> 00:57:21,070
(indistinct chattering)
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00:57:58,208 --> 00:58:00,109
(Mariam): When you goto Afghan Films
215
00:58:00,176 --> 00:58:01,911
and you look at the archives,
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00:58:01,978 --> 00:58:06,249
all along, you see thislong history of reallyimprovised filmmaking
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00:58:06,316 --> 00:58:09,752
because at no pointdo Afghan filmmakers
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00:58:09,819 --> 00:58:12,388
really have access toa lot of technical equipment.
219
00:58:13,022 --> 00:58:15,792
But I think duringthe communist periodit gets much worse,
220
00:58:15,859 --> 00:58:18,094
because the country is at war,
221
00:58:18,161 --> 00:58:22,632
and only inside the cities,does the regime actuallyhave control.
222
00:58:27,637 --> 00:58:29,639
(Mariam): So only in Kabulcan they actually control
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00:58:29,706 --> 00:58:32,342
the locationsthat they're shooting in.
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And for certain films...
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they do need to leave Kabulin order to get the shot
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(Middle Eastern music)
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01:00:07,070 --> 01:00:10,206
(soft romantic music)
228
01:00:11,908 --> 01:00:15,545
(Mariam): If you talk to peoplewho were actually party members
229
01:00:16,212 --> 01:00:18,781
a lot of them also will expressto you the feeling
230
01:00:18,848 --> 01:00:22,518
that that period was likebeing on a runaway train,
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01:00:22,585 --> 01:00:26,222
where no one knewat the beginningwhere things would end up.
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01:00:26,956 --> 01:00:30,193
And there was a moment,
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01:00:30,259 --> 01:00:33,629
there was a momentat the beginning of the period
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01:00:33,696 --> 01:00:37,834
when there was a genuineinvestment from a lot of people
235
01:00:37,900 --> 01:00:40,903
in this leftist dream.
236
01:00:40,970 --> 01:00:43,539
But it deteriorated
very quickly.
237
01:00:45,775 --> 01:00:48,244
But by that point,
it was also dangerous
238
01:00:48,311 --> 01:00:50,213
to detach yourself from it
239
01:00:50,279 --> 01:00:53,182
if you were operating
in an official capacity,
240
01:00:53,249 --> 01:00:55,885
which the people
at Afghan Films were.
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01:00:57,754 --> 01:01:00,590
of the counter-revolutionaryelements,
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01:01:00,656 --> 01:01:03,726
located beyond our frontiersinside Pakistan.
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01:01:03,793 --> 01:01:07,096
The first nucleusof the counter-revolutionaries
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01:01:07,163 --> 01:01:08,598
emerged from here.
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01:01:08,664 --> 01:01:12,201
The assistance of Washingtonprovided new tasks
246
01:01:12,268 --> 01:01:15,471
for CIA agentsin the frontier of Pakistan.
247
01:01:17,473 --> 01:01:20,843
The unveilingof the sinister intentions
248
01:01:20,910 --> 01:01:23,312
of the enemies ofthe revolution.
249
01:01:23,379 --> 01:01:26,549
encouraged our peopleto voluntarily take up arms
250
01:01:26,616 --> 01:01:29,552
and to wipe outthese inhuman and sad acts
251
01:01:29,619 --> 01:01:32,989
with the help of unityand oneness.
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01:01:33,056 --> 01:01:35,158
The roads and highwaysare open.
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01:01:35,224 --> 01:01:37,627
The life-enduring bloodof the revolution
254
01:01:37,693 --> 01:01:41,364
is slowing in the veins ofthe free people of this land.
255
01:01:42,632 --> 01:01:44,901
(jazzy music)
256
01:02:23,706 --> 01:02:26,375
(soft music, male vocals)
257
01:04:48,284 --> 01:04:51,087
(gunshots, distant shouting)
258
01:04:56,926 --> 01:04:59,996
(tank revving)
259
01:05:15,011 --> 01:05:17,380
(distant gunfire)
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01:05:22,318 --> 01:05:25,321
(machinegun firing, shouting)
261
01:05:29,692 --> 01:05:31,927
(birds chirping)
262
01:07:15,564 --> 01:07:17,900
(soft clarinet music)
263
01:07:55,905 --> 01:07:58,073
(suspenseful music)
264
01:08:52,328 --> 01:08:54,196
(sirens wailing)
265
01:08:56,765 --> 01:08:59,001
(cars honking)
266
01:09:00,569 --> 01:09:02,605
(helicopter whirring)
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01:09:04,139 --> 01:09:07,576
- Like this, is it 'cause,
like, there's something wrong
with the film?
268
01:09:07,643 --> 01:09:09,044
- Yes.
269
01:09:09,111 --> 01:09:10,746
- Can you fix that stuff?
270
01:09:10,813 --> 01:09:13,148
- It depends. It depends
what the problem was.
271
01:09:13,215 --> 01:09:14,650
- Yeah.
272
01:09:14,717 --> 01:09:16,919
(Mariam): I've always believed
273
01:09:16,986 --> 01:09:19,522
that you can't preservean archive
274
01:09:19,588 --> 01:09:21,457
by locking it up.
275
01:09:21,524 --> 01:09:24,126
Especially not by lockingit up in a place
276
01:09:24,193 --> 01:09:27,162
where it's far too easy for itto be physically destroyed.
277
01:09:28,097 --> 01:09:31,033
And I thinkthe Afghan Films archive
278
01:09:31,100 --> 01:09:34,436
is always going to beunder some threat,
279
01:09:34,503 --> 01:09:38,073
as long as Afghanistan remainssomewhat unstable.
280
01:09:39,375 --> 01:09:43,112
And I believe that the only waythat it can truly be preserved
281
01:09:43,178 --> 01:09:45,948
is for it to proliferate.
282
01:09:46,015 --> 01:09:48,617
For people to know about it.
283
01:09:49,318 --> 01:09:52,922
For many, many copiesto circulate.
284
01:10:04,900 --> 01:10:07,236
(energetic music)
285
01:10:36,932 --> 01:10:39,668
(Russian anthem playing)
286
01:11:29,752 --> 01:11:32,187
(helicopter whirring)
287
01:11:39,962 --> 01:11:42,264
(soft flute music)
288
01:13:30,706 --> 01:13:33,509
(Middle Eastern flute music)
289
01:13:44,987 --> 01:13:47,122
(indistinct conversation)
290
01:15:44,606 --> 01:15:47,142
(shouting, distant gunfire)
291
01:16:05,427 --> 01:16:07,930
(gunfire)
292
01:17:14,629 --> 01:17:16,932
(man singing
in foreign language)
293
01:17:31,780 --> 01:17:34,082
(singing continues)
294
01:19:03,638 --> 01:19:05,340
(projector rattling)
295
01:19:12,514 --> 01:19:14,950
(horse galloping)
296
01:20:26,855 --> 01:20:29,524
(Middle Eastern music)
297
01:21:21,576 --> 01:21:23,912
(soft music)
298
01:21:59,981 --> 01:22:02,617
(soft string music)
299
01:23:30,505 --> 01:23:32,974
(suspenseful music)
300
01:25:15,677 --> 01:25:18,012
(film reel rattling)
301
01:25:20,448 --> 01:25:22,317
(indistinct chattering)
302
01:26:27,649 --> 01:26:30,552
(soft saxophone music)
303
01:26:30,618 --> 01:26:32,954
(chattering)
304
01:28:52,193 --> 01:28:54,662
(slow eerie music)
305
01:29:17,318 --> 01:29:19,854
(distant gunfire)
306
01:29:42,110 --> 01:29:44,212
(gunfire continues)
307
01:29:56,891 --> 01:29:59,193
(gunfire)
308
01:31:28,316 --> 01:31:31,052
(ballroom music)
309
01:32:25,640 --> 01:32:28,309
(soft music)
310
01:32:30,311 --> 01:32:32,346
(phone ringing)
311
01:32:51,332 --> 01:32:53,701
(whimpering)
312
01:32:54,669 --> 01:32:56,938
(loud explosions)
313
01:32:58,673 --> 01:33:00,875
(footsteps racing)
314
01:33:01,475 --> 01:33:03,277
(gunfire)
315
01:33:03,344 --> 01:33:05,146
(glass shattering)
316
01:33:05,680 --> 01:33:08,182
(men shouting
in foreign language)
317
01:33:11,185 --> 01:33:13,688
(distant gunshots)
318
01:33:18,225 --> 01:33:21,562
(gunfire sound fading)
319
01:33:28,035 --> 01:33:30,905
(low rumbling)
320
01:33:33,841 --> 01:33:36,644
(slow celestial music)
321
01:34:03,771 --> 01:34:06,540
(music continues)
322
01:34:59,093 --> 01:35:02,229
(celestial music)
323
01:35:05,633 --> 01:35:08,102
(wind blowing gently)
324
01:35:34,295 --> 01:35:37,031
(cart rattling)
325
01:36:09,830 --> 01:36:12,967
(echoing Middle Eastern music)
326
01:36:37,124 --> 01:36:39,560
(soft flute music)
327
01:37:08,289 --> 01:37:10,624
(soft flute music)
328
01:37:18,999 --> 01:37:21,268
(Mariam): There wasno government reallycommissioning them
329
01:37:21,335 --> 01:37:23,237
to make films anymore,
330
01:37:23,304 --> 01:37:26,073
but they continued to filmall the way up until '96.
331
01:37:27,908 --> 01:37:31,979
And at a certain point, I thinktheir project becamevery personal.
332
01:37:32,046 --> 01:37:35,249
And that's what the houseof history sort of represents,
333
01:37:35,316 --> 01:37:39,019
I think it's one of the most
personal films
in the Afghan Films archive.
334
01:37:39,086 --> 01:37:42,856
It's really an essay film
about the destruction of Kabul.
335
01:37:43,591 --> 01:37:46,760
And it sort of shiftsabout halfway through
336
01:37:46,827 --> 01:37:49,463
into a lamentfor the destruction
337
01:37:49,530 --> 01:37:53,934
of the Kabul Museum,the Archeological Museum,
338
01:37:54,001 --> 01:37:56,203
and how it representsthe destruction
339
01:37:56,270 --> 01:37:58,839
of all of these otherhistories of Afghanistan,
340
01:37:58,906 --> 01:38:01,041
all of the non-Islamichistories.
341
01:38:49,657 --> 01:38:52,393
(quiet music,
wind blowing gently)
342
01:39:07,207 --> 01:39:10,110
(low rumbling)
343
01:39:17,918 --> 01:39:20,521
(wind blowing)
344
01:41:27,681 --> 01:41:29,817
(distant shouting)
345
01:42:28,575 --> 01:42:31,245
(tape rewinding)
346
01:42:39,052 --> 01:42:41,255
(man in film chuckling)
347
01:42:48,962 --> 01:42:51,598
(overlapping chattering
on television)
348
01:43:00,274 --> 01:43:03,343
(overlapping chattering
on television)
349
01:43:10,217 --> 01:43:12,853
(upbeat Middle Eastern music)
350
01:43:17,891 --> 01:43:20,193
(music fading)
351
01:44:10,844 --> 01:44:13,347
(eerie music)
352
01:44:30,063 --> 01:44:32,432
(suspenseful music)
353
01:46:16,603 --> 01:46:18,538
(soft piano music)
354
01:46:23,543 --> 01:46:25,946
(loud explosions)
355
01:47:43,023 --> 01:47:45,392
(television playing
in background)
356
01:48:21,328 --> 01:48:23,530
(fire crackling)
357
01:48:57,364 --> 01:48:59,566
(gate squeaking)
358
01:49:39,506 --> 01:49:42,075
(overlapping chattering)
359
01:50:15,709 --> 01:50:18,745
(greetings in foreign language)
360
01:51:39,125 --> 01:51:41,828
(birds chirping)
361
01:51:45,698 --> 01:51:48,701
(men conversing
in foreign language)
362
01:52:24,904 --> 01:52:26,940
(soft flute music)
363
01:52:54,300 --> 01:52:57,036
(Middle Eastern music)
364
01:53:16,456 --> 01:53:19,425
(horse galloping)
365
01:54:06,406 --> 01:54:08,408
(birds singing)
366
01:54:10,310 --> 01:54:12,845
(children's voices echoing)
367
01:55:04,464 --> 01:55:07,433
(energetic music)
368
01:55:09,502 --> 01:55:12,338
(car honking,
bicycle bell ringing)
369
01:55:14,073 --> 01:55:17,910
(Mariam): Well I thinkAfghanistan is at a stage now
370
01:55:17,977 --> 01:55:22,649
where pieces of its historyare starting to resurface
371
01:55:22,715 --> 01:55:24,417
into the sayable
372
01:55:24,484 --> 01:55:26,819
from the unspeakable.
373
01:55:26,886 --> 01:55:31,057
When you're coming outof a period of intense conflict
374
01:55:31,124 --> 01:55:34,661
there are parts of the pastthat are untouchable.
375
01:55:34,727 --> 01:55:37,830
And then gradually,gradually, gradually,
376
01:55:37,897 --> 01:55:40,900
they become thingsthat you can look at
377
01:55:40,967 --> 01:55:43,169
and speak about again.
378
01:55:43,236 --> 01:55:45,672
So I think, you know,we're emerging
379
01:55:45,738 --> 01:55:49,409
into a period in Afghanistan
where it's not becoming
possible again
380
01:55:49,475 --> 01:55:53,446
to talk about the communist
period with some kind of...
381
01:55:54,280 --> 01:55:56,382
... some kind of honesty
382
01:55:56,449 --> 01:55:58,818
and completeness
383
01:55:58,885 --> 01:56:01,487
that was not possible
even five years ago.
384
01:56:01,554 --> 01:56:04,624
And certainly not ten years ago.
385
01:56:05,591 --> 01:56:09,228
But, for example,
we still can't talk about
the Mujahideen...
386
01:56:09,295 --> 01:56:11,030
... period that way.
387
01:56:11,097 --> 01:56:13,900
We certainly can't talk about
the Taliban years that way yet.
388
01:56:15,101 --> 01:56:17,036
They're too close still.
389
01:56:18,204 --> 01:56:19,806
But I think...
390
01:56:19,872 --> 01:56:22,742
archives are incredibly
important for that reason
391
01:56:22,809 --> 01:56:26,746
because in an archive,
you sort of conceal off
392
01:56:26,813 --> 01:56:28,848
these histories.
393
01:56:30,016 --> 01:56:34,787
And keep them until the moment
when it's safe
to look at them again.
394
01:56:34,854 --> 01:56:36,756
(wind blowing)
395
01:56:43,496 --> 01:56:46,299
(woman singing
in foreign language)
396
01:57:45,858 --> 01:57:48,528
(singing continues)
29321
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