About the Film
Afghan director Hassan Fazili falls foul of extremists when his documentary Peace in Afghanistan—about a Taliban commander who renounced violence and was subsequently assassinated—is aired. When the Taliban puts a bounty on Fazili’s head, he is forced to flee with his wife, also a filmmaker, and two young daughters. Using mobile phones, the family records their experiences as they move from one country to another, at times waiting months to know the outcome of their visa applications.
Unlike a more conventional documentary shot by an outsider about the plight of refugees and asylum seekers, this first-hand account presents, with a high degree of intimacy, the journey of a family to an unknown and uncertain destination.
Despite the fact that the film was shot on mobile phones, its look is quite striking. Midnight Traveler is not merely a documented record of a journey, but also the story of a family. Capturing their odyssey, Fazili shows their desperation, but balances it with moments that show the tremendous love that is shared between them. We witness their stress, but also lighter moments such as building snowmen, or bike riding lessons. Shots of clouds and birds flying freely with abandon contrast with the hapless situation the family is in.
The family clearly understands the importance of telling their story, and willingly participates in the process of filming and being filmed in turns. It is indeed the truthfulness and the intimacy with which the story is told that draws us into their lives as they illustrate the indomitability of the human spirit, even in the midst of high danger, insecurity and uncertainty.
The film has been screened worldwide and moved audiences as well as juries, winning awards at the Berlinale, San Francisco, Sundance, Thessaloniki, Sheffield and several other film festivals.
Raman Chawla
