"If the starting point is zero the only way to move is forward", said director Hiner Saleems in an interview. His movie "Kilomètre zero" is made out of this indestructible optimism in the middle of horror.
In a small town in the North of Iraq during the times of the "First Golf War" the Kurd Ako (Nazmî Kirik) is recruited by force to fight against Iran, while Saddam Hussein is already preparing his extermination campaign against the Kurdish minority. After some time at the front he gets the order to escort a killed soldier to his family his chance to escape the war. Together with an Arab driver who treats him only with contempt he takes of for an arduous journey through Iraq.
With charm Hiner Saleem masters all the patterns that makes a movie on dictatorship and suppression attractive for the festivals. There is the stage-like minimalism in plot and equipment, the impressive photographic production and the excellent choice of music. With so much ability the spectator excuses generously that the plot is getting out of hand in the end. The almost absurd ease is a clear post against melodramatic transfiguration of war à la Hollywood. An important reminder that suffering never can be completely seized by a movie.
But what makes this movie really special is something else. It's the small glimpses between the lines of the film-text. Truly eerie moments in which the movie is dropping all playfulness in front of a scenery of constant murder and terror. There is just nothing like this movie. Over 10 years virtually no movie was produced in the nation of Iraq. This is a piece of movie history.
Trivia: The constant presence of a huge statue of Ex-dictator Saddam Hussein on the set was problematic. The sculptor ordered to make this "piece of art" was once even thrown into prison before the filmmakers could clarify the situation.
In a small town in the North of Iraq during the times of the "First Golf War" the Kurd Ako (Nazmî Kirik) is recruited by force to fight against Iran, while Saddam Hussein is already preparing his extermination campaign against the Kurdish minority. After some time at the front he gets the order to escort a killed soldier to his family his chance to escape the war. Together with an Arab driver who treats him only with contempt he takes of for an arduous journey through Iraq.
With charm Hiner Saleem masters all the patterns that makes a movie on dictatorship and suppression attractive for the festivals. There is the stage-like minimalism in plot and equipment, the impressive photographic production and the excellent choice of music. With so much ability the spectator excuses generously that the plot is getting out of hand in the end. The almost absurd ease is a clear post against melodramatic transfiguration of war à la Hollywood. An important reminder that suffering never can be completely seized by a movie.
But what makes this movie really special is something else. It's the small glimpses between the lines of the film-text. Truly eerie moments in which the movie is dropping all playfulness in front of a scenery of constant murder and terror. There is just nothing like this movie. Over 10 years virtually no movie was produced in the nation of Iraq. This is a piece of movie history.
Trivia: The constant presence of a huge statue of Ex-dictator Saddam Hussein on the set was problematic. The sculptor ordered to make this "piece of art" was once even thrown into prison before the filmmakers could clarify the situation.
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