At Five in the Afternoon

At Five in the Afternoon is a 2003 Iranian drama film directed by Samira Makhmalbaf, co-written with her father Mohsen Makhmalbaf. This gem of Iranian cinema pioneers in presenting a gripping tale of aspiration amidst despair, entrenched within the cultural milieu of Afghanistan. The lead cast of the film includes Agheleh Rezaie, Abdolgani Yousefrazi, and Razi Mohebi, who deliver powerful performances, adding depth and credibility to their respective characters.

The plot of the film unfolds in the dynamic and complex backdrop of post-Taliban Afghanistan. It specifically revolves around a young woman named Nogreh (Agheleh Rezaie), who dares to dream big against a conservative societal backdrop. Her ambition, driven by the newfound liberty following the Taliban's downfall, is to become the president of Afghanistan. The film beautifully encapsulates her journey as she faithfully nurtures her aspiration amidst the trials and tribulations that characterize her immediate social and political environment.

Nogreh's character is an epitome of resilience, perseverance, and determination. Underneath her traditional burka, she harbors a modern and ambitious spirit. She secretly attends a secular girls' school against her traditionalist father's wish, and often engages in intellectual discussions with her peers about the possibility of a woman becoming a president. Her audacious dreams bring to light the insatiable thirst for change and freedom amongst women in a society mired in traditionalist principles.

Abdolgani Yousefrazi plays Nogreh's father, a role that starkly contrasts her progressive thinking. As a man who still grapples with the loss of a traditional patriarchal society, he embodies the societal constraints that often pose as stumbling blocks on the road to Nogreh's ambition. He is a war-weary, old man perennially sceptical about the changes his country is going through.

Razi Mohebi, on the other hand, adds another layer to the story playing a young, aspiring poet. He serves as Nogreh's confidant and admirer, further illuminating the intensity of Nogreh's dreams against their stark and displaced reality. His character offers a nuanced understanding of the aspirations of the young generation disrupted by war and displacement.

The film excels in its vivid storytelling, brought entirely to life by the director's astute understanding of her characters and the society they inhabit. Samira Makhmalbaf navigates the viewer through the heart-wrenching reality of post-conflict Afghanistan, anchored in Nogreh's personal journey. Every little detail, such as the symbolic heels Nogreh wears beneath her burka, the dilapidated surroundings, the worn-out cart serving as their mobile home, are finely woven into the fabric of the narrative, projecting a realistic and raw picture of life in Afghanistan amidst transition.

Besides its compelling narrative, At Five in the Afternoon is also a testament to the distinguished artistry of Iranian cinema. The director's nuanced eye, the poignant storyline sprinkled with poetic metaphors and symbols, the remarkable performances by the lead cast, and the brilliant conveyance of its high social relevance, all contribute to the film's appeal. The evocative cinematography by Ebrahim Ghafuri captures the eerie silence and the palpable devastation of war-torn Afghanistan, adding another captivating layer to the movie.

In essence, At Five in the Afternoon is not just a film but also a vital social commentary. The movie serves as an insightful indictment of war's consequences and a heartfelt exploration of a society in transition. At the same time, it uplifts the spirit with its extraordinary tale of a young woman's audacity to dream, making it a must-watch for enthusiasts of thought-provoking cinema.