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Film Guide

Stronger Than a Bullet

Maryam EBRAHIMI

75min Sweden 2017 Asian Premiere

#전쟁 # 인권 # 휴먼

Synopsis

"Devoted to the Iranian Revolution, Saeid SADEGHI documented the Iran - Iraq war (1980 ~ 1988) from the eye of the event. His dream was to be a martyr. Many of his photos were misused to create war propaganda for martyrdom. Today he views himself as being responsible for sending thousands of boys to their graves."

Director

Maryam EBRAHIMI

Maryam has worked at Nima Film for eight years as producer, director and researcher. She co-directed and produced Nima Film’s 2012 documentary No Burqas behind Bars, set in an Afghan women’s prison and directed the short documentary Susie’s Dollhouse for Swedish broadcaster SVT. For Nima Film Maryam also produced I Was Worth 50 Sheep(2010) filmed in Afghanistan and Those Who Said No(2014) filmed in Iran, Sweden and Japan.

Schedule 용어 안내

용어 안내

  • E영어 대사
  • NES비영어 대사 + 영어자막
  • GV감독과의 대화
  • ST스페셜 토크
  • Program
  • Date
  • Class / Caption / EventGuide

    Guide

    • EEnglish Dialogue
    • NESNon-English Dialogue+English Subtitles
    • GVGuest Visit
    • STSpecial Talk
  • Book
  • EBS 1TV 2018-08-22   |   23시 20분 15 NES
  • LOTTE CINEMA Hongdae 1 2018-08-21   |   19시 30분 15 NES GV 예매하기
  • MEGABOX Ilsan-Bellacitta The Boutique 102 2018-08-24   |   12시 30분 15 NES 예매하기

Review

Stronger Than a Bullet is an extraordinary portrait of repentance. Saeid SADEGHI was a war photographer during the Iran–Iraq War. His heroic photographs were used to inspire patriotism and lure young men to the battlefield. In the meantime, the Iranian supreme leader KHOMEINI insisted that the war must continue until all the believers of other faiths were wiped out. Holding the Islamic Revolution sacred, SADEGHI initially agreed to turn his images into an important tool of government propaganda. Later, nearly driven to insanity by the deaths of countless child soldiers and bloodshed, he opened his eyes to the truth of the war. The war was only a means for the state to reinforce its power. The film follows SADEGHI as he seeks out the battlefield and people of the war from 30 years ago. Piles of corpses have replaced the heroes in his photographs, and as if reflecting SADEGHI's own mind, the journey takes him to darker landscapes. He is as much ashamed of himself for having led the way in the propaganda effort as he is worried about the current situation. The words of KHOMEINI still prevail in schools, and people are unable to break free of their illusions about the war while at the same time turning a blind eye to the truth of the abandoned tanks and bullets left in the desert. The government confiscated SADEGHI's heroic photographs, which are still being used as a propaganda tool. Dotted around downtown Teheran are his pictures showing heroic war images. The testimony of the man who used to be in the forefront of creating the war's images stands in conflict with the unremorseful present, leaving a deep scar. LEE Yong Cheol

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