Cinema Trust The documentary “Three Hazar” by Behrouz Nourani Pour is the story of three girls from nine thousand girls captured and raped by ISIL in the city of Sinjar, 130 kilometers from Mosul, the capital of Anbar province, Iraq. The city, a combination of Arab, Kurdish and Yazidi ethnicities, was killed and looted by ISIL in 2014, and thousands of girls and women were sold as war trophies in the Mosul and Ruqa markets.
In this regard, Ehsan Mofidi Kia wrote: The suffering that ISIS imposed on them and killed their men and captured themselves. With ISIS’s dominance over Iraq, it was thought that these ladies would see the color of peace again, but the fate was something else. Women who had a child’s rape were on the toughest intercourse for a mother: either passing through their children or from their community and identity! The Yazidi beliefs and culture did not accept that a child was between a ISIL father, so mothers who insisted on keeping their children were rejected from the city and the crowd.
Shengal is a land and that pain is still going on. It was previously ISIS, and the pain of captivity and slavery, and now the pain of the sin of sin there was no authority. All women’s efforts to prove their innocence and keep children who are unable to negate their mothers are not the way to go, and thus are deprived of the minimum citizenship rights in their native land.
The film has three main characters who simultaneously tell their story of their stories and live in front of the camera. The mother of Delevo, Marwa Abdullah, and Salva Mohammed Sadiq each have a child or children from the hard days of rape, and now that she wants to forget those bitter days and return to normal life, they are still experiencing double sadness. They are asked to forget their child so that they will not be removed from the Yazidi community, but which mother can accept this?
Behrouz Nourani Pour, producer, director and researcher of “Three Nine Three Thousand”, in about 70 minutes of his work, depicted and associated with three Kurdish Kurdish ladies and tried to hear memories of their bitterness since captivity, from today’s suffering. Say; Refusing to accept between relatives and relatives, from a rigorous livelihood and insisting on driving out of the house and the city, which ultimately leads to another disaster that we will eventually encounter.
Nourani Pour formerly documentary “E. 157 »made about girls affected by the catastrophes of ISIL terrorists, which received a lot of audiences at various festivals and won awards within the country, including the Fajr Film Festival, Resistance and Cinema, and previously the main prize of the International Film Festival. Germany’s Zeichen der Nach has also won the Film Film Award from the France’s Chambéry Festival, the Poland’s Watch Documentary Festival’s Best Documentary Award, and the Sinnia Dual Film Festival Jury. These successes indicate that Nouranipour has worked well in the area of this social crisis, and so the new documentary is not unexpected, especially as he has looked at this issue from a new perspective.
Ismail Mansif is edited by Ismail Mansi, and the admirable point of his work is to advance the story lines and the return between the characters so that we see the film as a whole and assume those women, and we want from these three instances. Understand what is happening and where it is.
The sentences and numbers that come in the Black Documentary Folk also show the shocking volume of the cruelty that the documentary intends to narrate. However, we have to go back to the sentences that a Kurdish women from Radio Refugees say, “Past, nothing can go back, go back to life.”
The Independent Celebration of Iran Documentary Cinema is an annual event held in collaboration with the Documentary Cinema Producers Association and the Documentary Cinema Directors Association and under the supervision of the Celebration Board.
The celebration will be held in the 13th period, chaired by Mohammad Shakibania under the arbitration academy and its closing on March 5.