The swallows of Kabul (2019) – Review

Find the virtue in the silhouette, and show us with real delicacy what is the null intimacy of the homes of the poor, how was the Kabul of the theaters and music in the streets.

Zabou Breitman is right in everything: production design, graphic design, narration, simplicity, and stylizes the drama, passes by the melodrama and ends in tragedy, that feminine tragedy that travels this planet since we inhabit it. How successful will be the watercolor of four dominant colors, to end the feeling of having visited the KABUL of the Taliban! In addition, the simplicity of these backgrounds, colors and strokes, is based on the diversity of a small but plural, multiple universe, as opposed to the approval of the multinational Disney, which in its eagerness to approve, denies reality and advocates an ideology dominant reactionary from beginning to end, not as when in the beginning took care of each of "their dwarves."

Teasing blue, military green, clay brown and red at some times that require it, along with a faded gray that saddens The Light of a bloodthirsty and fundamentalist Kabul, portrayed as a dictatorship as effective as selective and wild, often seen through from the grid of the forced burqa, which, as lumps, hides the majority of the decimated population after years of war with the Soviets.

How successful will be the watercolor of four dominant colors, to end the feeling of having visited the KABUL of the Taliban!

Encourage watercolor, allows you to choose and dose the media in an economy of media, gestures and movements. To dose is to give the story beauty and impact with simplicity; this gives a lyrical and narrative value, both to the slight oscillation of the curtain of a prison window, and to the first appearance of a pair of swallows that draw in an instant the flight in flight that characterizes them. The night and daylight describe and narrate, in doing so, the reality of a country that stones those blue bumps in which they have turned their women and that in a beautiful metaphor they will morph into the swallows of Kabul.

The technological diversity of cinematographic animation, today offers thousands of possibilities dreamed by many since its inception and allows to approach a political, combative and lyrical cinema without having to envy anything to the real image, or resort to large productions not accessible to all narrators However, Zabou Breitman surprises with the simple jump of a cat, finds the virtue in the silhouette and opens a sense and sensitivity to the execution of the shadows, its lines, the areas of the undulating light, and shows us with authentic delicacy how it is the null intimacy of the homes of the poor, how was the Kabul of the theaters and music in the streets and how sometimes, when it is too late, changing your flight to fight for the future of young people makes sense and a deep generosity. As if that were not enough, the social spectrum between adolescents and the elderly can enjoy a very good film that is suitable for everyone.


Synopsis Summer 1998. Kabul is a ruined city occupied by the Taliban. Mohsen and Zunaira are two teenagers who have fallen in love despite living in an environment full of violence and misery. Although they survive day by day, an irresponsible act of Mohsen will change their lives forever.
country France
Address Zabou Breitman, Eléa Gobbé-Mévellec
Script Zabou Breitman, Patricia Mortagne, Sébastien Tavel
Music Alexis Rault
Gender Animation
Duration 80 min.
Original title Les hirondelles de Kaboul
Premiere 02/21/2020

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