Bahman Ghobadi

Turtles Can Fly tells the story of a group of young children near the Turkey-Iraq border. They clean up mines and wait for the Saddam regime to fall.

Kurdish composer Boran is no longer able to see the ocean, obstructed by a new building, and a tragedy befalls him…

Irreverent city engineer Behzad comes to a rural Kurdish village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.

During the 30 years of the Baath ruling under Sadam in Iraq thousands of Iraqi Kurds and Shiites were either killed or disappeared. Around 182,000 people lost their lives when 4500 villages and townships were destroyed in Kirkuk, Soleimanieh, Dahouk and Erbil regions with the aim to exterminate the Kurds and to arabize Kurdistan. Having found one of the mass graves after 24 years in the southern deserts of Iraq, became the basis of a movie describing the living conditions of these villages inhabited by mostly mothers, daughters, wives or sisters of those victims.

Kurdish-Iranian poet Sahel has just been released from a thirty-year prison sentence in Iran. Now the one thing keeping him going is the thought of finding his wife, who thinks he's been dead for over twenty years.

An Iranian official (Reza Behboodi) tries to find husbands for a group of young Kurdish women who are threatening to kill themselves because of the scarcity of marriageable men Due to wars, bad economy, and politics.

Iranian musicians Negar and Ashkan look for band members to play at a London concert ... and the visa that allows them to leave Tehran to do so.

The first of four installments in the groundbreaking Heartbeat of the World anthology film series. Comprised of several short films by some of the world's most exciting directors, Words with Gods follows the theme of religion - specifically as it relates to an individual's relationship with his/her god or gods...or the lack thereof. In Words with Gods, each director recounts a narrative centered around human fragility, as well as environmental and cultural crises involving specific religions with which each has a personal relationship; including early Aboriginal Spirituality, Umbanda, Buddhism, the Abrahamic faiths, Hinduism, and Atheism. An animated sequence by Mexican animator Maribel Martinez is woven through each of the film segments, with each segment narratively connected as a feature-length film.

This documentary shows us how a Daf elaborated. It's about a family that all their children are blinded and they're running their family business. They're making Dafs which is an Iranian hand percussion musical instrument and nowadays it's mostly played in Kurdish folk songs.

For Nariman the pilot and Helly Luv, an aspiring singer, being Kurdish is not just an identity; it’s a full-time job. Nariman needs young recruits for his flying school—a goal made darkly comic since he just survived a plane crash—while the illustrious Helly collects Kalashnikov rifles and a sea of Kurdish flags to produce her music video. In the midst of another war against the Kurdish people, Nariman reminisces about a long-lost love, and Helly finds herself connecting with Kurdish children at a refugee camp near the Syrian border, who are in urgent need of inspiration and hope.

After their father dies, a family of five children are forced to survive on their own in a Kurdish village on the border of Iran and Iraq.

Mamo, an old and legendary Kurdish musician living in Iran, plans to give one final concert in Iraqi Kurdistan. After seven months of trying to get a permit and rounding up his ten sons, he sets out for the long and troublesome journey in a derelict bus, denying a recurring vision of his own death at half moon. Halfway the party halts at a small village to pick up female singer Hesho, which will only add to the difficulty of the undertaking, as it is forbidden for Iranian women to sing in public, let alone in the company of men. But Mamo is determined to carry through, if not for the gullible antics of the bus driver.

During the war between Iran and Iraq, a group of Iranian Kurd musicians set off on an almost impossible mission. They will try to find Hanareh, a singer with a magic voice who crossed the border and may now be in danger in the Iraqi Kurdistan. As in his previous films, this Kurdish director is again focusing on the oppression of his people.

A police officer finds himself haunted by a traumatic childhood memory as he searches for a missing man in the rugged mountains of Iraqi Kurdistan, in this striking feature debut by Batin Ghobadi.

Itinerant Kurdish teachers, carrying blackboards on their backs, look for students in the hills and villages of Iran, near the Iraqi border during the Iran-Iraq war. Said falls in with a group of old men looking for their bombed-out village; he offers to guide them, and takes as his wife Halaleh, the clan's lone woman, a widow with a young son. Reeboir attaches himself to a dozen pre-teen boys weighed down by contraband they carry across the border; they're mules, always on the move. Said and Reeboir try to teach as their potential students keep walking. Danger is close; armed soldiers patrol the skies, the roads, and the border. Is there a role for a teacher? Is there hope?

Nezhad is fourteen years old and both of his parents have passed away. He is forced to leave school and take care of the family. To earn a living, he decides to smuggle goods across the Iranian-Iraqi border with his mule. One day, however, the mule breaks a leg.

Akihiro, who lives in an old apartment building in Tokyo, makes songs and sings on the streets; Fei, a street musician who makes a living making a living by making the Iranian traditional instrument 'Daf', but does not neglect to play every night; A film director who travels around Seoul with a digital camera .

The fate of thousands of people is unified under the tarpaulins of the refugee camps in Kobanê and in Shingal. Kurdish filmmaker Bahman Ghobadi has given eight children the opportunity to use a camera to tell their own stories. Each film gives us a glimpse into the plight of the children, as seen through their own eyes. Their stories tell of young people with their whole lives ahead of them, though they’ve already lost almost everything. At a certain point, the film crew leaves the camp and follows the 13-year-old Mahmod and his sister in the search for his parent‘s house in Kobanê. The town has been ravaged by the war and all the children find is rubble. The eight films reveal the courage and openness of the young filmmakers, who share their stories with great intensity, realism and poetry, despite their harsh fate.