ACCREDITATION FOR THE 7TH EDITION IS NOW OPEN 

KABUL, BETWEEN PRAYERS

( 2025 )
Feature Documentary Competition |
 
Netherlands
,
Belgium
 |
 Pashto, Farsi-Dari |
 102 min

About the film

This powerful film explores life in Kabul under Taliban rule, centering on two brothers: Samim, a devout Taliban soldier, and his younger brother Rafi, who idolizes him and the Taliban’s promises of martyrdom, as they navigate personal struggles amid a world of conflict.

Director

Aboozar Amini

Aboozar Amini, born in 1985, is a filmmaker and video artist from Bamiyan, Afghanistan. He left his homeland in 2001 after the Taliban destroyed the Buddha statues near his hometown. Trained in contemporary art at the Rietveld Art Academy in Amsterdam and filmmaking at the London Film School, his work bridges poetic imagery and urgent reality. His graduation film Angelus Novus (2015) premiered at IFFR and won international acclaim. His debut feature documentary Kabul, City in the Wind (2018) opened IDFA and earned numerous awards, while Best Day Ever (2018) premiered at Cannes’ Directors’ Fortnight. Founder of KinoKabul and Kabul Film School, Amini amplifies young Afghan voices. He is a member of the European and Dutch Film Academies.

Producer

Jia Zhao, Hanne Phlypo

Production Company

Screenplay

Aboozar Amini

Cinematography

Ali Agha Oktay Khan

Editing

Annelotte Medema, Cătălin Cristuțiu, Neel Cockx

Sound

Ensieh Layla Maleki

Cast

Samim, Rafi

Contacts

International Sales: Mediawan Rights, France, Arianna Castoldi, arianna.castoldi@mediawan.com

Producer

Jia Zhao, Hanne Phlypo

Production Company

Screenplay

Aboozar Amini

Cinematography

Ali Agha Oktay Khan

Editing

Annelotte Medema, Cătălin Cristuțiu, Neel Cockx

Sound

Ensieh Layla Maleki

Cast

Samim, Rafi

Contacts

International Sales: Mediawan Rights, France, Arianna Castoldi, arianna.castoldi@mediawan.com

More About Film

In a masterful use of the documentary form, and its ability to approach problematic characters with neutrality, the filmmaker maintains a deliberate distance from his subject, freeing himself of any preconceived judgment, and allowing the viewer to form their own understanding of the subject and the social and moral codes that shaped them. With this approach, Afghan-Dutch director Aboozar Amini presents a cinematic portrait of Samim, a 23-year-old Taliban soldier deeply devoted to its ideology and moral values. Amini allows his camera ample time to follow Samim, both in his remote village and through the streets of Kabul, where he and his fellow inspection-unit soldiers are tasked with protecting the city from its enemies.Like other Taliban fighters, he regards “infidels” as enemies who must be fought and for whom one should be willing to sacrifice oneself to defeat them. Samim instills the same beliefs in his younger brothers, ensuring they receive religious instruction from his teenage brother Rafi. He teaches them how to use weapons and how to prepare for martyrdom. The same man is eager to help his father in the fields, and use his breaks to brush up on the English he learned at university. He laments his wife’s abandonment and asks for advice on how to treat her properly.In this different light, Samim appears as an ordinary man shaped by the conservative religious environment in which he was raised. His teenage brother Rafi is much like him, reciting Quranic verses whose meanings he doesn’t understand, playing with other boys, and marveling at the beauty and grandeur of the Buddhist temples the Taliban destroyed.Kabul, Between Prayers does not pass judgment on its subjects. Through the filmmaker’s questions, their inner emptiness is revealed, an emptiness that cannot be filled by the religious appearances they cling to. The film’s prolonged observation invites us to reconsider Samim’s formation and to see him as a man shaped by the social and tribal environment in which he was raised, one that turned him into a rigid believer even as he harbors a deep desire for a normal life, a desire he resists by clinging to what he has become.Kais Kasim

Producer

Jia Zhao, Hanne Phlypo

Screenplay

Aboozar Amini

Cinematography

Ali Agha Oktay Khan

Editing

Annelotte Medema, Cătălin Cristuțiu, Neel Cockx

Sound

Ensieh Layla Maleki

Cast

Samim, Rafi

Contact

International Sales: Mediawan Rights, France, Arianna Castoldi, arianna.castoldi@mediawan.com

More About Film

In a masterful use of the documentary form, and its ability to approach problematic characters with neutrality, the filmmaker maintains a deliberate distance from his subject, freeing himself of any preconceived judgment, and allowing the viewer to form their own understanding of the subject and the social and moral codes that shaped them. With this approach, Afghan-Dutch director Aboozar Amini presents a cinematic portrait of Samim, a 23-year-old Taliban soldier deeply devoted to its ideology and moral values. Amini allows his camera ample time to follow Samim, both in his remote village and through the streets of Kabul, where he and his fellow inspection-unit soldiers are tasked with protecting the city from its enemies.Like other Taliban fighters, he regards "infidels" as enemies who must be fought and for whom one should be willing to sacrifice oneself to defeat them. Samim instills the same beliefs in his younger brothers, ensuring they receive religious instruction from his teenage brother Rafi. He teaches them how to use weapons and how to prepare for martyrdom. The same man is eager to help his father in the fields, and use his breaks to brush up on the English he learned at university. He laments his wife’s abandonment and asks for advice on how to treat her properly.In this different light, Samim appears as an ordinary man shaped by the conservative religious environment in which he was raised. His teenage brother Rafi is much like him, reciting Quranic verses whose meanings he doesn’t understand, playing with other boys, and marveling at the beauty and grandeur of the Buddhist temples the Taliban destroyed.Kabul, Between Prayers does not pass judgment on its subjects. Through the filmmaker’s questions, their inner emptiness is revealed, an emptiness that cannot be filled by the religious appearances they cling to. The film’s prolonged observation invites us to reconsider Samim’s formation and to see him as a man shaped by the social and tribal environment in which he was raised, one that turned him into a rigid believer even as he harbors a deep desire for a normal life, a desire he resists by clinging to what he has become.Kais Kasim