What We Left Unfinished

What We Left Unfinished is a provocative and deeply moving documentary film directed by Mariam Ghani. Released in 2019, it stars Noor Hashim Abir, Adela Adim, and Latif Ahmadi, amongst others. A unique blend of different components, the film captivates, and intrigues viewers, with historical depth, engaging narrative and strong thematic undertones.

The documentary primarily deals with the power of cinema and the role it Can play in shaping and preserving a nation's collective memory even amid dire political turmoil. In Ghani's skilful hands, the documentary uncovers and showcases the troubled history of Afghanistan through a collection of five unfinished and unreleased films that were abandoned due to the changing socio-political landscape in the country during the late 20th century.

Weaving into it interviews with filmmakers and actors, archival footage, and recovered fragments of the unfinished works, Ghani takes viewers through the intricate juxtaposition of reality and fiction, as she explores the riveting stories behind the unfinished films. We get to see Afghanistan's history not just through the lens of the filmmakers, but also through the surreal narratives and scenes from these incomplete films, sparking contemplations on the purpose and impact of filmmaking.

Taking the lead in this historiographic captivating cinematic journey is actor Noor Hashim Abir, whose remarkable screen presence commands attention. Adela Adim, and Latif Ahmadi, two of Afghanistan's noted filmmakers, add depth and vitality to the narrative as it oscillates between the filmmakers' halting efforts and the compelling scenes from their unfinished creations.

The film serves as a fitting tribute to the resilience and tenacity of Afghan filmmakers amid social and political unrest, offering a fresh perspective to viewers accustomed to seeing the war-ravaged country through a different lens. It powerfully demonstrates how these filmmakers were at the frontlines, striving to capture and reflect the essence of their country through their art. Their unfinished films, thus, become a symbol of the resilient spirit of Afghan cinema and a testament to their unwavering commitment in the face of upheaval.

What We Left Unfinished is an exploration of cinema as a medium of resistance and liberating potential, as Ghani attempts to complete the ambitious visions these filmmakers had in their minds, combining fragments of different genres- from melodrama to socialist realism, and impressions of popular cinema that feature throughout. Besides, it provokes viewers to question the ethics of filmmaking, the role it plays in documenting history and shaping perceptions, and the struggles filmmakers face in their attempts to express and narrate their stories truthfully.

It is an essential piece for students of cinema and history, providing a behind-the-scenes look into the filmmaking process in a politically charged setting and its subsequent impact on the finished product. Equally, this film is for audiences curious to explore another side of Afghanistan seldom represented in mainstream media, one that transcends boundaries of war and conflict, to narrate a tale of courage, perseverance and the indomitable human spirit, embedded within the universal love of cinema.

In conclusion, What We Left Unfinished is a compelling historical narrative, brilliantly intertwined with the power of cinema, and carrying Afghanistan's complex history on its shoulders. It illuminates how movies, despite being a medium of fantasy, can become essential cultural artefacts when they are left unfinished or unreleased – their skeletal frames illuminating a reality that finished films sometimes fail to capture. With an intriguing blend of archival footage, interviews and excerpts from the five unfinished films, Mariam Ghani elegantly unveils the story of turbulence, hope, and resilience within Afghan cinema, thus making viewers reassess the usual understanding of Afghan history.