Ilyas Yourish on his film 'Kamay', depicting a Hazara family's quest for justice • FRANCE 24

Kame: A Film on Loss, Resistance, and the Hazara People of Afghanistan

Key Concepts:

• Hazara People: An ethnic group native to Afghanistan, historically facing persecution and marginalization.
• Kame Film: An Afghan filmmaking collective founded by Ilas Urus, focused on indigenous storytelling.
• Zara’s Case: The mysterious death of a young Hazara woman at Kabul University, serving as the central narrative of the film.
• Indigenous Perspective: The importance of representing Afghan stories from the viewpoint of Afghan people themselves, rather than through a Western lens.
• Renarration: The act of reclaiming and retelling one’s own story, challenging dominant narratives.

I. Introduction to the Film & Event

The documentary Kame centers on a Hazara family’s pursuit of truth and justice following the unexplained death of their daughter, Zara, at Kabul University, occurring shortly before the Taliban takeover of Afghanistan. The film is described as “haunting and multi-layered,” offering a poignant portrayal of grief, female resistance, and the historical context of the Hazara people. A special event celebrating Zara artists, including a screening of Kame, is being held at Sciences Po University in Paris.

II. The Narrative Core: Grief, Justice, and the Hazara Experience

Director Ilas Urus explains that Kame is fundamentally a story about a family grappling with loss. However, it extends beyond individual grief to represent the broader experience of the Hazara people, who have endured systematic persecution for over a century and a half, regardless of the ruling regime in Afghanistan – be it republican, Taliban, or communist. The film doesn’t explicitly detail this historical context, but it aims to evoke the emotions and daily realities of a community facing ongoing harassment and discrimination.

The film follows the parents’ journey from their remote village in the Shahistan area to Kabul, seeking answers and justice for Zara. The younger sister, Ferishta, serves as the film’s narrator, observing her parents’ fruitless efforts and beginning to question the very concept of justice within a failing system.

III. The Impact of the Taliban Takeover & the Pursuit of Justice

The pursuit of justice is tragically complicated by the collapse of the Afghan government and the subsequent Taliban takeover. As Urus states, “the whole setup was changed in a way,” rendering the existing legal system ineffective. Universities are now closed to girls, further highlighting the systemic oppression. While the family doesn’t achieve justice within the formal system, Urus hopes the film itself will contribute to a broader call for accountability. “We hope that by this film and by showing this film there will be a way to to to seek justice for the family.”

IV. Kame Film & the Importance of Indigenous Storytelling

Ilas Urus founded Kame Film in Afghanistan in 2018, not merely as a production company, but as a collective of Afghan filmmakers dedicated to representing indigenous perspectives. Urus emphasizes the challenges faced by Afghan filmmakers, including navigating security risks, funding limitations, and the pervasive “Western gaze” on Afghanistan. This “Western gaze” often presents a distorted or incomplete picture of the country, failing to capture the nuances of Afghan life and identity.

Urus articulates the importance of “renarrating ourselves and to preserve our indigenous and local perspective,” particularly given the limited history of cinema as a cultural medium in Afghanistan. He notes that he graduated from Kabul University in 2014 and only a few years later began to produce films, highlighting the recent emergence of Afghan filmmakers with the opportunity to tell their own stories.

V. Challenges of Representation & Conversation

Urus acknowledges the difficulty of fostering constructive dialogue about identity and history within Afghanistan, particularly in the wake of decades of conflict and trauma. He describes a pervasive “frustration” and “anger” that often hinders open conversation. He jokingly notes the extensive historical context required to fully understand the film, stating, “it’s a joke all the time. Everybody asks me about my film. I have to start from the late 19th century because that’s how you can put this all into perspective.”

VI. The Paris Event & the Future of Hazara Storytelling

The event at Sciences Po University in Paris is described as a “historic time” for the Hazara community, marking the first gathering of five or six Hazara visual artists exhibiting work focused on Hazara issues. Urus emphasizes that this generation of Hazara artists has unprecedented access to opportunities and a platform to narrate their own experiences. He and other filmmakers are committed to continuing this path of self-representation.

VII. Data & Statistics (Implied)

While no specific statistics are provided, the interview implicitly highlights the historical and ongoing marginalization of the Hazara people in Afghanistan, suggesting a pattern of systemic discrimination and violence. The closure of universities to girls under the Taliban regime is also presented as a concrete consequence of the political shift.

Conclusion:

Kame is a powerful documentary that transcends a single family’s tragedy to illuminate the broader struggles of the Hazara people in Afghanistan. The film underscores the importance of indigenous storytelling, challenging dominant narratives and offering a nuanced perspective on a complex and often misrepresented region. The Paris event represents a significant step towards amplifying Hazara voices and fostering a more accurate and empathetic understanding of their experiences. The film’s core message is a plea for justice, remembrance, and the preservation of cultural identity in the face of ongoing adversity.