Caught In The Fences: Children Of War In Cinema

Isao Takahata바카라�s Grave of the Fireflies바카라�a Studio Ghibli production made in 1988바카라�is by far one of the most moving anti-war films of all time.  Through the eyes of Seita and Setsuko, the film paints in poignant colours the horrors of World War II, which leave their childhood splintered. Grave of the Fireflies leads a league of films that are premised on children of war across the globe. From dwelling on the impact of mass violence on children, to their integration into the infrastructure of war, filmmakers across the world have created works that see conflict through the eyes of a child. At a time, when horrifying visuals from Gaza of headless bodies of toddlers and malnutrition-stricken babies have been blazing across our screens for the past twenty months, the International Day of Innocent Children Victims of Aggression assumes a macabre significance. It becomes a fitting occasion to reflect on some of these films, which look at how the harsh social realities of war shape young impressionable minds.

Iran바카라�a country where filmmakers have consistently rebelled against the diktats and bans of an authoritarian regime바카라�has a rich history of cinema that centres narratives through a child바카라�s perspective. It is perhaps true, what they say­바카라�the most remarkable stories emerge from amongst people who face the most challenging predicaments. From Abbas Kiarostami바카라�s Where is the Friend바카라�s Home? (1987) to Jafar Panahi바카라�s The White Balloon (1995) and The Mirror (1997); Majid Majidi바카라�s The Colour of Paradise (1999) and Children of Heaven (1997) to Bahman Ghobadi바카라�s A Time for Drunken Horses (2000) and Turtles Can Fly (2004)바카라�Iranian directors have evolved a unique language of realism in the way their camera captures the tender dilemmas of childhood. Often, many of them tend to work with non-actors in their films, to step up the authenticity of emotions and avoid performances that are undercut by melodrama. Turtles Can Fly, in particular, is a film situated squarely in a warzone, right before the US invasion of Iraq. The film follows the lives of three children바카라�Kak Satellite (Soran Ebrahim), Agrin (Avaz Latif) and Hengov (Hiresh Rahman)바카라�at a Kurdish refugee camp on the border of Iraq and Turkey. While looking at innocence ravaged by war, Ghobadi also presents a wary disillusionment with the facade of 바카라�hope바카라�, mobilised whenever a Western intervention is celebrated in regions ridden by conflict. The children become symbols of an irretrievable loss of humanity that is treated as 바카라�collateral damage바카라� within the political games of the powerful.

The Chechen war and its impact on children has also been a persisting subject for several filmmakers from Europe. After the Soviet Union바카라�s fall, Chechnya declared itself independent from Russia, leading to the First Chechen War between 1994 and 1996, and the Second War between 1999 and 2009. These conflicts have seen significant loss of lives, especially of Chechen civilians, and most of the war films situate their depiction within this human cost of war. In 2004, Finnish director Pirjo Honkasalo made The 3 Rooms of Melancholia바카라�a landmark film that documented the impact of the Russo-Chechen conflict on children from both the warring sides. Apart from revealing the devastation of countless families and orphaning of children at a dreadfully young age, the film also threw light on excesses such as sexual violence against children that was used as a weapon of war. What The 3 Rooms of Melancholia documents in the non-fiction form, The Search (2014) narrates as fiction. Directed by French filmmaker Michel Hazanavicius, The Search strings together the journeys of Kolia (Maksim Emelyanov), a Russian army soldier and Hadji (Abdul Khalim Mamutsiev), a Chechen refugee child. With its breathtaking cinematography, the film charts the systematic dehumanisation that Kolia undergoes to turn into an efficient soldier, while Hadji struggles to make sense of the devastation he is surrounded by. Both their trajectories symbolise a lost innocence that is arrested by the violence that they witness and are subjected to. Through its intriguing formal framework, The Search takes the viewer from the 바카라�what바카라� to the 바카라�why바카라� and the 바카라�how바카라� of the quagmire that is war.

In India, most war films are still plagued with the compulsive need to reinforce a jingoist idea of nationalism that benefits from castigating the enemy. Seldom does the human cost feature as a subject of importance in these films and demonisation becomes a key operative in this formula바카라�sometimes of a neighbouring country, and at other times, of a religious community. However, there are a precious few filmmakers who do attempt to take the conversation beyond the language of hate. Ashvin Kumar바카라�s Little Terrorist (2004)바카라�nominated for the 2005 Academy award for best Live Action short film바카라�is one such work. In a lively tale wrought with trepidation, Little Terrorist follows 10-year-old Jamal (Salim), a Pakistani Muslim boy, who loses his way across the Indo-Pak border while retrieving his ball during a game of cricket. He is protected by Bhola (Sushil Sharma), an Indian Hindu, in the nearby village, when the Army comes looking for him. In its tight runtime, the film manages to transcend the vitriol that often entails stories that are drawn from the tensions between these two countries and speaks of a humanity that, in an ideal world, would have been the prerogative of well-meaning citizens. In its poetic imagination, the film serves as a soothing balm for communities wounded by a bloodied history of loss and separation.