1. Directors

2. New Kurdish Documentary Movement

3. References

4. Sources

The first film of the Kurdish cinema, Zare was shot in Armenia and directed by Hamo Beknazarian in 1926, but only in the 2000s Kurdish cinema began to rise.

The Kurdish cinema is shaped by the fate of the Kurds as people without a state. Kurdish movies talk about social grievances, oppression, torture, human rights violations and life as a stranger. The kurdish cinema has a high significance for the Kurds, as it offers the opportunity to draw attention in an artistic way to their own situation. However, due to state repression, filming is not an easy matter. So most films are produced in exile. The best example of this is Turkey, where the Kurds were not allowed to speak their mother tongue until 1991; which made the development of Kurdish film difficult. ^[1]

One of the founding father of Kurdish cinema, a figure that is admired by Kurdish Filmmakers today is Yilmaz Güney, despite all the restriction that was force upon him by the Turkish Government, Guney managed to portray the richness of Kurdish cultures in his films, such as Suru and Yol.^[2] Yılmaz Güney started making films in the 1950s. For his film Yol - The Road from 1982, he even received the Golden Palm at the International Film Festival in Cannes. His death in 1984 in Paris meant the end of Kurdish film for a long time, just where he came to international fame. However, in 1991 another Kurdish film called "A Song for Beko" by Nizamettin Ariç from German-Armenian production followed. In 1992, Mem û Zîn followed by director Ümit Elçi from a Turkish production. The film Siyabend and Xecê dates back to 1993 and was also produced in Turkey. The number of film releases is steadily rising u. a. Productions from Iran. Bahman Ghobadi for example received the Peace Film Prize for his film at the Berlinale in Berlin for his movie "Tortoises can fly".

Over the years Kurdish cinema has symbolized mainly the sufferings of the Kurdish people in the Middle East.

Kurdish cinema mainly evokes the poverty and sufferings of the Kurdish people in the Middle East. Yilmaz Güney, Bahman Qubadi, Mano Khalil, Jano Rosebiani, Hisham Zaman, Sahim Omar Kalifa and Yüksel Yavuz are among the better known Kurdish directors. Some Kurdish Filmmakers live and work outside Kurdistan, such as Hiner Saleem.^[6]

The following is a list of some better known Kurdish films that are critically acclaimed have the highest rating^[7] on IMDB are:

• Zer, 2017
• The Swallow, 2016
• Reseba, 2016
• Come to my voice, 2013
• My Sweet Pepper Land, 2013
• The Children of Diyarbakır, 2009
• David & Layla, 2006
• Turtles Can Fly, 2004
• Vodka Lemon, 2004
• Jiyan, 2002
• Marooned in Iraq, 2002
• A Time for Drunken Horses, 2000
• The Wall, 1983
• Yol, 1982
• Zare, 1927

Directors

• Ayşe Polat
• Bahman Ghobadi
• Hiner Saleem
• Kazim Öz
• Mano Khalil
• Miraz Bezar
• Nazmi Kırık
• Nizamettin Ariç
• Nuray Şahin
• Yüksel Yavuz
• Yeşim Ustaoğlu
• Yılmaz Güney
• Yüksel Yavuz
• Yusuf Yeşilöz
• Züli Aladağ

New Kurdish Documentary Movement

In the past decade, a new style of New Kurdish Documentary Movement has taken shape in all four part of Kurdistan. Kurdish filmmakers uses documentary films as a tool to educate mainly Western viewers, especially showing their films in Film Festivals and over Social Networking sites to bring attention to the past historical and current evens that has and is taking place in Kurdistan,^[8] many of these documentaries are shot in Cinéma vérité styles, with small budget and crews, notable films include:

• Close up Kurdistan, 2008 by Yüksel Yavuz
• Banaz a Love Story, 2012 by Deeyah Khan
• 1,001 Apples, 2013 by Taha Karimi ^[9]
• Der Imker, 2013 by Mano Khalil
• Hope – Hêvî, 2013, by Yüksel Yavuz
• Bakur, 2015 by Çayan Demirel & Ertugrul Mavioglu ^[10]
• Dil Leyla, 2016 by Asli Özarslan
• AMED – Memory of a city, 2017 by Yüksel Yavuz

The film Banaz a Love Story, directed and produced by Deeyah Khan is about Banaz Mahmod, a 20-year-old Kurdish woman from Mitcham, south London, who was killed in 2006, in a murder orchestrated by her father, uncle and cousins.^[11] It won the 2013 Emmy award for Best International Current Affairs Film.^[12]

References

Sources

• Cardullo, Bert (2012). World Directors and Their Films: Essays on African, Asian, Latin American, and Middle Eastern Cinema. Scarecrow Press. p. 210. {{ISBN|0810885247}}.

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