Afghan Star

As if getting on stage before millions and risking the insults of Simon Cowell weren’t bad enough, imagine if you had the Taliban sending you death threats just for appearing on “American Idol.”

“Afghan Star” is very much like its American counterpart, except for the shoestring budget. The titular documentary, playing for one week only at the Mary Riepma Ross Media Arts Center, chronicles the lives of four contestants vying for the cash prize, record deal, and title of “Afghan Star.”

The film opens with the sobering image of a blind little boy singing a pop tune. He says that music makes his sadness disappear. A boy next to him adds, “If there was no music the world would be silent.” Music is probably more special to them than most of us can appreciate – up until recently, being caught singing could result in death.

Since 1979 Afghanistan has suffered civil wars and has been oppressed under the Taliban rule. Music was considered disrespectful and sacrilegious, and from 1996, it was a crime to dance, listen to music, or watch television.

With the Islamic Republic of Afghanistan in place, the country had elections in 2004, and music and dancing were okay once again. A huge boon of television stations appeared and one popular program to emerge was “Afghan Star.”

A program that passes for thoughtless entertainment in the U.S. is nothing short of revolutionary over there. Viewers can vote for their favorite contestants via text message, which the first time many Afghanis have experienced democracy.

The competition is open to anyone despite gender or age. Two women bravely participate on the program. After losing, one of them removes her veil and does a modest dance during her final performance – shocking actions that threaten her safety, bringing her several death threats.

Besides encouraging the democratic process, the show advances national unity. Tribal disputes are set aside when people of all sects vote for their favorite contestants. One fan is so loyal to his idol that he’s willing to sell his car so he can buy more SIM cards for his phone, which equals more texted votes.

The story of “Afghan Star” is fascinating for several reasons, but mostly because of the parallels with its American counterpart. Albeit the show’s popularity in the States, the program is devoid of meaning except for contestants’ hunger for their own 15 minutes. In Afghanistan, the show represents the reemergence of popular culture and anticipation of a unified nation.

It’s important to see what Afghanistan is like now and where it has been. I think that our perceptions of region are highly skewed, and this film shows just a peek of what life is like on the other side. “Afghan Star” is worth viewing for the much needed reminder that there are real human beings in the Middle East. The story about the actual “Afghan Star” show is just icing on the cake.

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Three Monkeys

Turkish import “Three Monkeys” derives its title from the primate promoted proverb “see no evil, hear no evil, speak no evil.” The fourth monkey who advises to “do no evil” is missed, because there are plenty wrongdoings to go around.

Nearly asleep at the wheel, politician Servet (Ercan Kesal) kills a man on the road and escapes the scene. Afraid of losing an election, he bribes his driver Eyüp (Yavuz Bingo) to take the blame. The rest of the film chronicles what happens to Eyüp’s troubled son and adulterous wife while he’s in jail.

The concept of threes is there if you’re looking; three visits to father in prison, three family members, three sins committed. But does ignoring the truth make it go away? There’s pain that can’t be forgotten. Sweeping everything under the rug seemingly destines the family to misery.

Realism is splashed with creepy surrealism in the form of a ghostly figure that haunts the family, who I presume is the fourth monkey, but you should see the film to find out who that is.

The acting is nuanced and professional. The actors give us just enough clues but don’t tell us everything that’s going on in their heads. A minimalist approach with dialog leaves us with a very sparse film, save the rich visuals.

Superb cinematography abounds. Many scenes are shot in shadows, delivering a noir-like atmosphere and a very distinctive mood. Key scenes are shot with the camera pulled way back, leaving us cold and detached. Colors are mostly muted, with only ugly greens and yellows surviving. It’s equally unpleasant and gorgeous to look at.

While the pace is slow and deliberate, the film never gets boring. However, a little more tension would have helped propel things along. Also, the conclusion to the circular story arc feels like both too much and not enough. You’re not beaten over the head with the message, but you’re also left with not quite enough to chew on.

“Three Monkeys” almost gives us a hat trick with stellar imagery and strong acting, but the storytelling leaves something to be desired. Art house fans will be satisfied but not enthralled.

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Let the Right One In

Elegant is not usually a word one uses to describe a horror film. Nor are words like serene, delicate, or ethereal. But those are perfectly fitting descriptions of the Swedish import, Let the Right One In. However one could also be equally right saying that it’s violent, bloody, and disturbing. The film veers to both extremes, much like its main characters Oskar and Eli. They’re like two sides of the same coin.

Oskar is a lonely middle school boy who is constantly and cruelly bullied by stronger kids in his class. From the beginning we can see a rage building within him, but he doesn’t have the courage to stand up for himself. Oskar finds a friend in Eli, an equally lonely girl who moves in next door. What Oskar later learns is that Eli is a vampire, which he accepts without batting an eye. The two realize they are kindred spirits and form a relationship.

Let the Right One In leaves in a lot of blanks to be filled in by the viewers. The biggest inquiries probably surround Eli’s relationship with the questionable middle-aged man, Håkan, that she lives with. He kills for her to support her blood drinking habit. But he’s getting sloppy with the murders. He nearly gets caught in his first kill of the film. Does he want to get caught? And why does he later go through great lengths to protect her? In the book that the film was based on, Håkan is a pedophile that is being used by Eli. This is barely hinted at in the film. Also handled abstractedly is the issue of Eli’s androgynous gender. The vagueness is a double-edged sword for the film. On one hand, it’s nice to not beaten over the head with some facts, but on the other some threads feel unfinished.

One thing I cannot go without mentioning is the cinematography. The numerous shots of snowy Sweden are lovely and calm. They still maintain that look in contrast to the carnage that fouls the landscape. The shots are also frequently wide and pulled back, distancing us from the violence. One of the best things about the film is that the violence isn’t glamorized or overdone. It is bloody, but it’s not played out like in other recent horror films.

Perhaps more discomforting than the blood sucking is the bullying that Oskar endures. But anyone who was bullied as a kid will be glad to know that the punks get their comeuppance. Oskar finds courage from Eli to fight back. I really liked their understated relationship, and the differences between them. He’s weak, she’s strong. He wants to kill, but she has to kill to live. The development of their relationship takes prevalence over a strong story, so thankfully it’s a pleasure to watch.

The film has a lot going for it but it isn’t perfect. I felt a little underwhelmed after watching it. Maybe it was because critics almost universally praised it that my expectations were too high. One thing that bothered me though was that I spotted the ending coming a mile away. Without giving too much away, I will say that the climax is done in a pretty spectacular way. It just wasn’t a surprise, but maybe it didn’t need to be. I hope that I don’t come across too harshly because this is a really good film. I just didn’t enjoy it as much as some other critics. But this is still one of the best horror films to come out in a long time.

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