Introduction
Mohammed Al-Daradji, an esteemed Iraqi filmmaker and director, born on the 6th of August 1978 in Baghdad, studied theatre in Iraq and cinematography in England. He has emerged as a leading figure in revitalising Iraqi cinema following the fall of Saddam Hussein’s regime. Known for his impactful and socially conscious films, Al-Daradji has brought forth stories that depict the effects of war, violence, and political turmoil on interpersonal relationships. His works resonate with audiences worldwide, shedding light on the resilience, humanity, and struggle for survival in adversity. This essay delves into the life and achievements of Mohammed Al-Daradji, tracing his journey as a filmmaker and exploring the themes that have defined his cinematic works.
Early Life and Education
He grew up in a country afflicted by political instability and the harsh realities of the Iraq-Iran war, the Gulf War, and U.N. sanctions. These formative experiences profoundly shaped his visual sensibilities and inspired his commitment to storytelling through cinema. Al-Daradji’s passion for film ignited during his youth as he explored films in different genres, from the Iraqi film industry to international cinema. Recognising the power of storytelling through cinema to bring about social change, he pursued formal education in film to widen his filmmaking horizons. He graduated from the Baghdad Institute of Fine Arts.
Adapting to a New Environment and Nurturing Talent
Fleeing the oppressive regime in Iraq, Al-Daradji sought refuge in the Netherlands in 1995 to seek a better future and a safer space to grow his talent and fulfil his dream of becoming a filmmaker. The Netherlands provided him with a nurturing environment to hone his skills as a cinematographer and director, feeding his aspirations and vision.
He expressed his gratitude for his new home by commenting:
“I am proud of Holland that gave me this great energy and opportunity to find myself – that is really important for me.”
“I am a refugee who came to Holland fifteen years ago with one pair of trousers, dirty clothes, and one pair of shoes. I will tell myself this […], and I will tell that to my family. I’m proud of Holland, which gave me this great energy and opportunity to find myself – that is really important for me.”
Adapting to a new culture and environment was challenging for him. Having a resilient character like many Iraqis, he channelled the challenging experiences into masterpieces that resonate with the Iraqi audience and those who lived under war conditions.
Professional Growth
His first job in the Netherlands was as a cameraman. His pursuit of esteemed filmmaking led him to continue his education at Leeds Beckett University’s Northern Film School in Leeds, UK, where he obtained master’s degrees in Cinematography and Directing. During his graduate studies, he created many short films and commercials, which earned him the prestigious Kodak Student Commercial Award for Cinematography.
He remained connected to his roots throughout living in the diaspora. The personal tragedy of his aunt, who lost her son during the Iraq-Iran War, inspired him to tell that story in one of his movies. His movies articulately portray the persistent suffering, hopelessness, and fear of the unknown felt by the people, keeping their experiences alive in the collective consciousness.
Cinematic Journey
Darraji returned to Baghdad, Iraq, shortly after the U.S. invasion. Al Daraji saw psychiatric patients wandering the streets while Baghdad was being bombed, which sparked the idea for his first feature film, Ahlaam. The film follows the past and present lives of three Iraqis who become entangled during the U.S. invasion in 2003.
Ahlaam: Portraying Dreams, Despair, and Hope
“Ahlaam”, Dreams or Utopia, was filmed during the U.S. invasion over four months. The film depicts the lives of three Iraqis, Ahlaam, Ali, and Ibrahim, during Saddam Hussein’s regime and the American invasion. It delves into the psychological and emotional impact of war, shedding light on the experiences of Iraqis.
Ahlaam film was screened at over 125 international film festivals and received over 22 awards and a Golden Globe consideration. It was Iraq’s submission for the 79th Academy Award for Best Foreign Language Film but was not accepted as a nominee.
Filming was difficult as electricity would often cut out most of the time. Towards the end of filming, Mohammed and three crew members were kidnapped but managed to escape being killed by militias, who accused them of making a movie supporting the U.S.-backed Iraqi government or Coalition Provisional Authority. The kidnappers were preparing to shoot them before they fled from the sound of police sirens. On the same day, they were said to have been abducted again by another group of gunmen who beat them up and then turned them over to the U.S. military, who held them in harsh conditions for six days on the suspicion that they were filming insurgent attacks for Al Qaida. Margret Britons, director of the international aid organisation, was kidnapped and killed in November 2004 in Baghdad during the film’s shooting.
Plot Summary: Ahlaam
The movie Ahlaam explores the theme of human resilience. It eloquently portrays the struggles and resilience of the Iraqi people who lived through the war. Throughout the story, the movie focuses on the ongoing trauma war leaves on people. The characters’ hopeful dreams and aspirations for the future are challenged, dreams are shattered, and identities are lost. The film explores how war affects individuals’ mental health and hopes for finding peace again in insecure and unstable situations.
Ahlaam is the main character’s name in the movie, an Arabic word translating to dreams or hopes. In the film, the word Ahlaam honours the law of polarity and depicts a saddening reality so far removed from the feeling of fulfilling a dream or goal that the word carries. Ahlaam loses her mind when gunmen abduct Ahmed, her fiancee, on the wedding day. The word slowly takes the opposite meaning, delusions and hallucinations.
The Iraqi people have witnessed a lot of terror and trauma throughout their history; they are known for their resilience and perseverance, which the director genuinely captures. Ahlaam raises the question of how big the cost and the impact war has on the lives of those who survived. The aftermath goes beyond the physical destruction and leaves psychological wounds carried by individuals, families and entire communities.
Theme and Theory
The movie Ahlaam can be associated with the theory of realism and survival instinct of individuals amidst war ideas emphasised by André Bazin, a famous French film theorist. AlDaraji aligns with André’s powerful idea by capturing the events rawly. André’s concept emphasises the powerful impact of cinema in portraying the reality of human life, and that is successfully seen in Al Daraji’s choices of extended shots to immerse the viewers and create a sense of connectivity with the character’s experiences. To name a few scenes:
- The tradition of spilling water after someone travelling symbolising their hope for their safe return home
- When the soldier leaves, his house gives money to his needy neighbour. Showing the Iraqi community spirit
- Traditions of drinking hot tea during the day on wooden sofas or Karaweta
- Scenes of Baghdad neighbourhoods with piles of trash and sewage flooding the area on both sides of the road symbolising how specific communities lived in poverty despite living in an oil-rich country.
- People used to hang pictures of Saddam everywhere, listen to his speeches and hang banners praising him.
- Focused and long shots of cooking for Ashora religious occasion
- Crossing the Tigris River by a wooden boat was/still is a common way of transport to cross from one side to the other.
- Baghdad was and still is beautiful in the eyes of its people against all odds and adversities lived – Ali, the solider says while on a wooden boat ride crossing the river from one side to the other side of the river, “Look! How beautiful Baghdad is!”
- Dijla, or the Tigris River, has always been the most romantic place in Baghdad, where lovers meet and confess their love.
- A beautiful scene was when the children sent the floating candles to the Tigris River on the occasion of Ahmed’s and Ahlaam’s marriage.
Ahlaam Cinematic Style
The visuals offer a realistic aesthetic of the war-torn country. The cinematography sometimes employs handheld camera movements, creating a documentary-like feel. This approach enhances the sense of immediacy, allowing the audience to be close to the characters and their struggles.
The colour palette is dark, neutral and desaturated, lack of vibrant colours, reflecting the sad reality the characters are facing. The visual choice adds to the authenticity of the portrayal of the story.
The sound design plays an integral part in the storytelling. It incorporates ambient sounds, military aircraft, gunfire, helicopters, and explosions, to evoke emotions and heighten the senses of the events. There are also moments of silence which are as powerful. Soundtracks were composed by Naseer Chamma, most known to use instrument oud to complement the visuals, enhance the overall auditory and cinematic experience, and contribute to the film’s setting.
The film’s realistic portrayal of war’s psychological and emotional impact on the characters earned critical acclaim and positioned Al-Daradji as a prominent filmmaker on the international stage.
Son of Babylon: Tracing Footsteps of Loss, Remembrance, and Resilience
“Son of Babylon” is another powerful film directed by Mohammed Al-Daradji, released in 2010. The movie is a compelling drama that follows the journey of a Kurdish grandmother (Umm Ibrahim) and her grandson (Ahmed) through war-torn Iraq, searching for the boy’s missing father, who was taken away by Saddam Hussein’s regime during the Anfal genocide campaign.
Plot summary: Son of Babylon
Ahmed’s father was one of the countless victims of the Anfal campaign, a series of insensible killings perpetrated by the Iraqi government against the Kurdish population in the late 1980s. Ahmed’s grandmother embarks on a mission to find her son’s remains and give him a proper burial, following the belief that the souls of the dead remain restless until they receive a proper farewell.
They travel from the mountains of Kurdistan to Bablyon, rely on strangers’ generosity along the way, and encounter people with the same mission of finding their missing loved ones. They also face many challenges in post-Saddam Iraq, highlighting the pain felt by many families separated by war. At the same time, Ahmed struggles to understand his grandmother’s mission.
The film beautifully portrays how the remains of Saddam’s doing are still evident even after his fall and the lasting impact of war on individuals and a nation’s memories. Throughout their journey, Ahmed realises his grandmother’s persistence in keeping his father’s memory alive and the need for closure.
Theme and Theory
The film examines the possibilities and challenges of addressing past atrocities memory and rebuilding a fractured society after the war. The film’s association with the concepts of Maurice Halbwachs, a sociologist and theorist of collective memory, becomes evident in its portrayal of characters seeking answers and closure regarding the fate of their loved ones in the aftermath of the war. His theory emphasises forming a collective memory of a nation through shared experiences and encounters. In Son of Babylon, it conveys the story of Um Ibrahim’s and Ahmed’s hunt for truth and closure to honour his father’s memory and the nation’s.
It also touches base with the theme of healing after witnessing atrocities and trying to endure the pain and survive. The movie aligns with ideas from many theorists, such as John Paul.
Cinematic Style
The cinematography adapts a realistic approach employing close-up shots, creating a sense of intimacy, connecting with the characters and evoking emotions. The camera captures Iraq’s beautiful yet war-torn landscape from Kurdistan through Baghdad, then Babylon.
Natural and earthy tones are mainly used to depict the story of perseverance and the search for closure and reconciliation.
For sound design, the movie incorporates ambient sounds and carefully selected musical compositions to heighten the narrative’s emotional impact, like the Nay carried by Ahmed. The sounds of war, including explosions and gunfire, immerse the audience in the chaotic and dangerous environment. There are also moments of silence, adding contrast to the auditory experience.
Son of Babylon was screened at over four international film festivals and received six awards and three nominations. It was selected as Iraq’s official entry for the foreign language Oscar at the 2011 Academy Awards.
Conclusion: Honoring Humanity and Preserving Collective Memory
Al-Daradji tells stories influenced by famous film theorists. He uses Andre Bazin’’s ideas about the power of cinema in capturing realism and the survival instinct of individuals amidst war. Maurice Halbwachs theories on capturing the forming of collective memory through shared experiences and encounters are reflected in AlDaraji’s films, too.
Building on Al-Daradji’s self-aware and politically active approach to filmmaking, we desire to see him push boundaries and challenge norms, offering fresh perspectives on pressing global issues. Additionally, we hope to witness his growth as a filmmaker, experimenting with diverse cinematic styles and techniques to captivate and engage viewers on a deeper level.
References
Al-Daradji, M. (n.d.). Son of Babylon. Wikipedia. Retrieved June 30, 2023, from https://en.wikipedia.org/wiki/Son_of_Babylon
Al-Daradji, M. A. (Director). (2010). Son of Babylon [ابن بابل] [Film]. Human Film, Roissy Films, Iraq Al-Rafidain (IQ), Cineproduction Center (PS), Pyra Movies (AE), ARTSunnyland (EG). https://youtu.be/eQDKnOpVx_g (Original work published 2009)
Al-Daraji, M. (Director). (2004). Ahlaam [Dreams] [Film]. https://youtu.be/Kdp9vjrdB80
Interview Mohamed Al Daradji – Son of Babylon. (NA). Interview Mohamed Al Daradji – Son of Babylon, NA(NA), NA. Nederlands Film Festival. NA
TEDxBaghdad 2011 (Director). (2012). TEDxBaghdad 2011 – Mohammed Al-Daradji (Season NA, Episode NA) [TV series episode]. In NA [YouTube]. https://www.youtube.com/watch?v=XHO7srWZ8K4&ab_channel=TEDxTalks (Original work published 2011)
Marwa.A.N. 
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