Qarantina (2010) Poster

(2010)

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Nearby view into people's lives in Iraq, and how each (re)acts differently
JvH4831 January 2011
Very glad that I saw this film on the Rotterdam filmfestival 2011, offering some insight in Iraq from a safe distance. We read a lot about it in the newspapers, but what life in Iraq really looks like for the local people there, is left to our imagination.

One important character is a hired killer who lives on the 1st floor, in the same house that all other main characters live in. He seems bound to no rules whatsoever. But after a few deviations from his assignments, he himself becomes a victim by the hands of people who cannot take his behavior anymore.

Most other main characters belong to a family on the ground floor, much larger in number than there is room to describe them here. A special mention is for the father, who is the center of much problems. He is obviously unable to deal with his environment. For instance, when one of his daughters obstinately won't talk to anyone, rather than trying to learn what is wrong, he does not rest until she wears her head scarf. After that he leaves the "treatment" to an aunt, who can only think of an evil spirit housing inside, which diagnose he (the father) echoes later as his own opinion.

There is a younger son, earning some money with shining shoes, His math book is stolen by the hired killer. Later he finds it torn and burnt, apparently for no reason other than its contents may be politically (religiously) incorrect. Or it may be that the hired killer wanted to do something obnoxious, only while he could. This is one of less than a handful instances where the ground and first floor cross each others paths.

All these people live in the same house together, and contribute their part to a colorful picture of human relations and life of the people in Iraq. I very much doubt that we know all about it after today, but at least the general idea is coming across. Of course, it may be a personal, selective view of the film makers. We have no counter intelligence to verify any of it. On the other hand, I see no reason to suspect a hidden agenda from the makers.

An unusual large part of the audience stayed to attend the final Q&A. We heard about an aspect that was not apparent from the film, namely that the sound had to be re-done later, due to a continuous background noise from gunshots, explosions, etcetera.

Also, a question was asked about the purpose of the tank, which offered us a street view from the inside out, appearing a few times at moments not related to the story. We were told that its intention was to show foreign soldiers having a limited, isolated view on their environment. They live in some sort of quarantine (hence the title of this film). They lack real contact with the inhabitants, having no idea how the local people live and cope with the situation at hand.

The reverse is also very true, and same observation applies to people in Iraq. Even worse, the latter can be thought subdivided in distinct groups, each with their own rules and beliefs, of which the hired killer is a perfect example.
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A Work of Art from a Traumatized Country -- Oday Rasheed is a Talent to watch
Barev201327 April 2015
LA ARAB FILM FESTIVAL 2012

QUARANTINA, A work of art from a traumatized country, Iraq Photo:ASAAD ABDUL MAJEED, The Hit-man Upstairs

An Iraqi film, Qarantina, shot in Baghdad was by far the most powerful film shown at this years LA Arab Film Festival. Considering the war torn conditions still going on in Iraq even after the withdrawal of American forces, it is a wonder that somebody has actually been able to conceive and shoot a dramatic feature film there -- in the city of Baghdad no less. The production company was German (Basis Berlin) but the filming, the actors and everything else are Iraqi. The director Oday Rasheed (39) is a mature filmmaker who was working on short films even under the Sadam Regime and is now trying to establish something resembling a film industry in post occupation Iraq. QARANTINA (Quarantine) is his second feature and was easily the most profound film of the representative selection shown.

On the surface this is a brooding film about a traumatized family living in a dilapidated house somewhere in Baghdad that has somehow survived the destruction all around. Salih the father seems to have no feelings for anyone and is despised by all. Meriam his attractive daughter has suffered some kind of trauma and hasn't spoken for three days. His young second wife Kerima, can't stand him and is making it with the younger man who lives upstairs --and happens to be a hit-man --a professional killer (Asaad Abdul Majeed). He is never named, but it seems that his boss, Ahmed, pays the rent for the whole abode. Meriam has a preteen younger brother, Muhanad, who loves to study but has to shine shoes on the street to bring in some cash. An air of trauma hangs over all. Every once in a while we get out onto the main streets and see life in the city through the cannon barrel view of a patrolling American tank.

An aunt is called in to try to snap Meriam out of her trance.The aunt's verdict -- Meriam is pregnant by Satan, the devil himself, but her efforts at exorcism are of no avail.

The killer has a cowering sidekick who takes him out in a car to do a job. He enters shop. we hear a shot, and it's all over. Business as usual. Next he carries out a one shot drive by shooting on the street. These are political targets, but he didn't follow the rules -- wasn't supposed to do it in such a sloppy manner. He goes to visit old cronies and we find out that he was once a university student. His former colleagues shun him. One old friend, now a university teacher himself, would like to leave the country and accept a position in Canada but he has to take care of his elderly wheelchair bound mother. Killer solves the dilemma for him by snuffing the lady with a pillow. But now he's stepping beyond the guidelines of his calling and Ahmed, his supervisor, comes around to tell him that he cannot just commit murders randomly but has to follow the rules. "We are an organization and we have a proper way of doing things" --"What's the difference", says killer, "Dead is dead". Ahmed gives him a patronly pat on the shoulder and departs, telling him that he is mentally ill. As a result of this visitation Killer will himself be taken for a one way ride and snuffed by the very sidekick he treated with such callous arrogance earlier. After a ferocious family argument it is fairly clear (without being explicitly stated) that the Satan in Meriam's belly came from incestuous Daddy Salih -- the entire family rebels and walk out on him with Auntie leading the way. Where will they go? - -what will they do now ?-- anybody's guess. One is tempted to say that this is all an allegory of the overall situation in Iraq today -- senseless cold blooded murders -- breakdown of family values -- anarchy -- hopelessness -- chaos --but life goes on under the gun. The "quarantine" in question is more spiritual than physical, but it doesn't seem like director Rasheed is primarily interested in symbolism. He is going for something else -- for lack of a better word --ART! --and dramatic truth. The camera work is by the director's younger brother Osama Rasheed -- which make this sort of a family affair. What you see is what you get. There is no background music which only adds to the feeling of stark reality.

We don't really know why the killer kills but we do find out that he was once a university student who for some reason dropped out to become a hired gun. None of the people in the film have a back story to speak of and yet we begin to care about them and hope that at least some will escape the misery around them. Why life in Baghdad is such hell does not need to be explained. The roving gun barrel view of the city is enough to remind us of the hellish recent history. So we just get caught up in this microcosm - This story of a few people trapped in a closed space -- an emotional Quarantine --and a network of personal relationships that need to be redefined. Because they are intolerable!

Rasheed has come up with a very profound film that doesn't seem to be about anything and yet it is about everything -- and maybe that is as good a definition of art as Uany. After watching his city get torn apart by the American-led foreign occupation, and currently living through the insurgency violence that is still going on, Oday Rasheed is one of only a few Iraqi filmmakers working in Baghdad today. Hats off and here's hoping we will see more of his work in the near future.
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