User Reviews

This meticulously crafted heist film transcends the genre, offering a profound exploration of the psychology of criminals. It delves into the destructive intensity that fuels such obsessions, while laying bare the personal and emotional devastation left in their wake. The narrative masterfully navigates the clash between an individual's adherence to outdated codes of honor and the harsh realities of a systematic, modernized criminal underworld.

Visually, the film utilizes stark, alienating landscapes and imposing modernist architecture of steel, concrete, and unyielding light. This aesthetic brilliantly reflects the characters' emotional isolation and moral ambiguity. The action sequences are visceral and precise, showcasing meticulously planned technical processes alongside gruesome displays of tactical violence.

Furthermore, the film's language is imbued with a captivatingly melancholic "masculine loner" poetry. The writing style, coupled with the film's electric soundscape, creates a painterly, impressionistic experience rich with genuine romantic yearning and unspoken pain.

I watched the movie twice. The plot unfolds quickly, and the ninety minute passes swiftly, indicating a well crafted film.

While I recognized its uniqueness in the first viewing, I struggled to grasp its underlying message initially. It was only upon exiting the theater that I noticed a prominent poster featuring a tank in front of the Ishtar Gate, a masked soldier, an all-seeing eye, and a wall peppered with bullets. This poster led me to realize that while the story presented one narrative, the film's true message delved deeper, reminiscent of a Stanley Kubrick film, prompting me to view it a second time.

During my second viewing, I sought to uncover the story's significance, and I believe I made some headway. The movie opens with three masked thieves subjecting a young woman to a harrowing ordeal in the guise of exorcism and religious fervor. They later abduct another woman and steal an ancient artifact. Subsequently, they are depicted in a cemetery, wearing masks and brandishing weapons, before callously discarding the main character into a pit resembling a grave. Their actions mirror those of ISIS, known for their brutal treatment of women, mass killings, and ethnic cleansing in Mosul and beyond.

The recurring presence of the numbers 9 and 11 alludes to the events of 9/11, which lead to the American invasion of Iraq and the subsequent rise of ISIS. Scenes depicting bombings and the ensuing chaos in the city of Sulaimani evoke the horrors of war and terrorism.

Govan, a Kurdish Peshmerga fighter who battled ISIS, carries a backpack emblazoned with "US" and stashes the stolen artifact inside. Employing interrogation tactics such as waterboarding reminiscent of the Iraq war, he interrogates one of the thieves using a wet towel.

References to Saddam's regime and the search for weapons of mass destruction draw parallels to the U. S. intervention in Iraq post-9/11. The film also alludes to the looting of Iraq's cultural heritage and the subsequent military presence to safeguard artifacts from theft, mirroring real-life events. The tank in the poster resemble the American tanks that were stationed in front of the Iraqi Museum to protect it from looters.

In a pivotal scene at a bar, a female character cautions the protagonist against confronting her father, likening the situation to "Attack of the Kamikazes, there is no return." This analogy draws parallels between the September 11 attacks and the historical significance of Pearl Harbor. When September 11 happened, many compared it to the Japanese attack on Pearl Harbor in 1941, and 9/11 was called "The New Pearl Harbor".

These symbolic references abound throughout the film, underscoring its multi layered narrative that transcends conventional storytelling. As the first of its kind in Kurdish cinema, the film pioneers a visual storytelling approach, relying on symbols and imagery over traditional dialogue.

Despite its modest production scale with a minimal crew and a very small budget, the film marks a promising step towards a distinctive experience, first in its kind for Kurdish Cinema.