Kabul Transit
- Description
- Reviews
- Citation
- Cataloging
- Transcript
In the broken cityscape of Kabul, Afghanistan, amid the dust and rubble of war, Westerners and Afghans adjust to the uncertain possibilities of peace. KABUL TRANSIT shuttles through the broken streets of the city, moving between public space and private, listening in on conversations, posing questions, probing the darker alleys mainstream media avoids. The result is a unique cinematic experience - a shifting mosaic of encounters and raconteurs, captured glances and telling gestures, all beautifully shot and woven together by the music and the found sounds of a city sluggishly coming to life. Rejecting the usual device of narration and portraiture, the film asks the viewer to experience Kabul as a newly arrived visitor would - with a freshness born of apprehension on finding oneself in a place that is at once hauntingly strange and altogether familiar.
'Returning to Afghanistan after the war, anthropologist David Edwards (Heroes of the Age, 1996; Before the Taliban, 2002), with the help of his cameraman [Gregory Whitmore] and co-filmmaker Maliha Zulfacar, created a rare glimpse of what he found in a ravaged city and the complex ways in which Afghans are trying to survive. Finalist in a number of international documentary film festivals and recently shown at the Walter Reed Theatre in New York, Kabul Transit is one of the most important films on the Middle East in recent years.' Harvard University Center for Middle Eastern Studies
'The documentary accurately reveals the end result of a 30-year war devastation of the ancient city of Kabul and its inhabitants. It draws many contrasts - the abundance of supply for foreign troops and the scarcity faced by Afghan security forces, the new buildings and the devastation of the city, and the views of university students on what should be done and what is being done by donors. The quality of photography is superb and the coverage is comprehensive with high educational value to viewing students and the public at large. Kabul has been destroyed many times in history and Kabul Transit clearly demonstrates that history repeats itself. The most astonishing aspect came through the positive psychology of the people showing strive and hope rather than despair at terrible odds. The directors of Kabul Transit have rendered a major service to the public and deserve our [gratitude].' Nake Kamrany, Professor of Economics, University of Southern California
'Afghanis caught in the lower hell of globalization, surviving with the kind of disarming courage that only a fellow human can muster. Subtle, devastating, and poetic, Kabul Transit will be of great use to educators who seek an honest portrait of Afghanistan today.' Flagg Miller, Religious Studies, The University of California-Davis
'As someone who has spent time on the ground in Afghanistan I have long wanted to share this land with those who see it only through the lenses of the war on terror. In particular, as an educator I have wanted to bring this vibrant land of snow-covered mountains, ancient mosques, caravans, nomads, and colorful peoples to life for my students. In Kabul Transit I have found the means to do so. This revealing documentary brings to life average Afghans, from police officials to women who are probing the limits of personal freedom in a new, post-Taliban setting. The result is dozens of vignettes into the lives of ordinary Afghans who hardly resemble the threatening images most outsiders have of the Taliban, warlords, opium barons, or mujahideen. It is the story of real Afghans.' Brian Glyn Williams, Associate Professor of History, University of Massachusetts-Dartmouth
'Well conceived and tastefully edited...Captures many heart wrenching moments of suffering, joy and palpable hope mixed with uncertainty and fear about the outcome of the ongoing military and humanitarian intervention by the US led coalition...This film is a remarkable testament of the warning signs which remained and continues to remain unnoticed to this day, at a huge loss both to the peoples of Afghanistan and the international community. The producers of Kabul Transit should be proud of this memorable and invaluable videographic time capsule of Afghanistan's social history at the dawn of the twenty-first century.' Nazif M. Shahrani, Chairman, Department of Near Eastern Languages and Cultures, Professor of Anthropology, Central Asian and Middle Eastern Studies, Indiana University
'Spare, unsentimental and uncompromising...Most comparable to the recent doc 'Iraq in Fragments,' and infinitely more successful, this is a picture of a city in fragments, without intro, commentary or visual aid....Edwards, a tyro filmmaker, anthropologist and expert on Afghanistan at Williams College, and vet filmmaker/editor Whitmore, with Afghan-born producer Maliha Zulfacar, ventured to Kabul in 2003 with the idea of taking in various aspects of Kabul sans pre-set agenda. With Edwards' somewhat distanced, anthropological manner of filming akin to French doc pioneer Jean Rouch, Whitmore as editor opts to build the film by showing each part of the city, and seldom revisiting it, creating a sort of Cubist effect for the viewer....Such an approach may seem downright revolutionary to some doc fans, but the pic's style is much in accord with the norm for current Euro and Asian documaking, where polemics takes a back seat if it has a place at all. Lensing under arduous conditions is superb, lending the pic a bigscreen presence.' Robert Koehler, Variety
'Offers an invaluable record of the problems plaguing the first outpost in the War on Terror. Recommended.' Video Librarian
'Kabul Transit captures intimate scenes of Afgan realities...It invites the viewer to listen to and experience the life and concerns of a society victimized by three decades of proxy wars, and the activities of their presumed international saviors...Serves as a powerful critique of the West's post-9/11 approaches to security and reconstruction.' Asian Educational Media Service
'Forgoing devices of narration and intertitles, filmmakers David Edwards, Gregory Whitmore, and Maliha Zulfacar sculpt an engrossing, wry and ultimately haunting vision of war-torn Kabul and its diverse residents. Meandering through the neighborhoods, we encounter a mystic herbal doctor, an earnest Canadian soldier, the city's fledgling police force, a childless French schoolteacher and even a band of kite enthusiasts. With each encounter, human behavior is captured in its most fragile, humble form, thereby reminding us of mankind's ability to persevere no matter what the circumstances.' Los Angeles Film Festival
'With its title suggesting both its subject and its style, Kabul Transit presents a portrait of a fragmented country in transition via a glancing, observational look at its capital city and environs at a very particular moment in its history...A mosaic of images and experiences that convey the sorrow, black humor, irony, and surprising hope that can exist in the most untenable of situations.' Film Society of Lincoln Center
'Rather than taking a sensationalist outsider's perspective, this masterful documentary by first-time filmmakers David Edwards, Dr. Maliha Zulfacar, and Gregory Whitmore offers panoramic views of the city, as if filmed by an everyman on the streets of Kabul. The camera is in a constant state of quiet motion, swooping past money exchangers, government officials, U.N. Peace Keepers, and kite runners. There are no inserted queries on terrorism, diatribes about the burqa, or elongated shots of starving children within such organic motion; rather, the seemingly invisible filmmakers allow the residents, landscape and traditions of Kabul to illustrate the current state of the city and its people. Throughout the film, the camera serves less as a microscope and more as an eye, mimicking the sight of anyone and everyone on the streets of this legendary capitol city.' San Francisco International Asian American Film Festival
'Rather than shoot a travelogue or a polemic about how military violence has damaged the city and its people, they opted to shoot a fly-on-the-wall documentary in which they portrayed all sides of life in Kabul and allowed its citizens to speak for themselves.' Mark Deming, All Movie Guide
'Kabul Transit explores the soul of a city devastated by nearly three decades of war. The film follows city residents in the course of their daily lives and listens to their stories of the past and their hopes for the future. From neighborhoods leveled by rockets, traditional mud brick homes next to modern glass towers, gleaming SUVs caught in traffic jams with rebuilt taxis, Kabul Transit is about the spirit, as much as it is about the problems of the city. It is about the black humor and sardonic good sense that keep people attuned to the realities of their lives, even as politicians lay the groundwork for battles yet to come.' New York Arab and South Asian Film Festival
'A meditative but uncompromising document of the diverse residents of the war-torn Afghan capital, Kabul Transit forgoes didactive narration in favour of patient expose of a range of everyday lives. A group of female university students discuss resistance and Western influence, a fledgling police force struggle with insufficient resources, a herbal doctor consults with his patients and a French schoolteacher forges close relations with her pupils in her adopted home. All are a testament to perseverance and spirit in the face of regression and destruction.' Leeds International Film Festival
'Kabul Transit is a sensual meditation on the meaning of security in a city pummeled by decades of war. An earnest Canadian peacekeeper reflects on the daunting task of rebuilding a country in the absence of a clear sense of direction. Female university students provide a sardonic perspective on Western efforts to save Afghanistan from Afghans. A salesman tries to sell multi-million dollar fire equipment to a government that cannot afford uniforms for its policemen. At the same time, kite runners, amulet makers and herbal doctors transmit an unlikely sense of hope and humor, insisting that though buildings, roads and bodies have been broken by war, the spirit of Kabul survives. ' International Documentary Film Festival, Amsterdam
'After the fall of the Taliban the world pledged an unprecedented sum of money and committed vast military resources to Afghanistan. In the capital city of Kabul, among broken bricks, dust and craters, the watchwords of the reconstruction efforts were `budgets' and `progress'. Notions of patience, consideration, cooperation and history sounded tinny and weak.Kabul Transit attempts a slower and gentler inquiry into the meaning of the country's security and reconstruction....Kabul Transit sets out to give voice to those whose stories would otherwise never be told.' Galway Film Fleadh
'Kabul Transit is beautifully photographed, matter-of-fact, bleak yet oddly hopeful and 'infinitely more successful,' according to Variety's Robert Koehler, than the comparable Iraq in Fragments. I heartily concur.' Michael Hawley, twitchfilm.net
'The film was beautifully shot, making sure there is not a moment where you are not captivated by something on the screen.' filmobsessionblogspot.com
'After the fall of the Taliban - but also after centuries of colonialism and decades of proxy war and chaos - the world pledged an unprecedented sum of money and committed vast military resources to Afghanistan. Amidst this largess voices of optimism, hope and progress began to drone out the once familiar stories of despair, perseverance and exhaustion.In the capital city of Kabul, among broken bricks, dust and craters, Westerners and Afghans alike moved quickly to forge new circuits and in some cases graft entirely new systems - of law, economics, architecture and defense strategy - onto the shell of what remained. Perhaps too quickly. `Budget' and `Progress' became the sole watchwords of the reconstruction and security efforts. Notions of patience, consideration, cooperation and history sounded tinny and weak. Speed itself had become a goal.' Bodrum Film Festival
'This film, which shows the problems as well as the spirit of the city, is certain to be a popular addition to collections.' School Library Journal
'Recommended for public and academic libraries supporting studies in current events and Afghan culture.' Library Journal
Citation
Main credits
Edwards, David B. (film director)
Edwards, David B. (film producer)
Whitmore, Gregory (film director)
Whitmore, Gregory (film producer)
Zulfacar, Maliha (film director)
Zulfacar, Maliha (film producer)
Other credits
Camera and edit, Gregory Whitmore; music by Anouar Brahem, Dastan Ensemble, Nashenas.
Distributor subjects
Afghanistan; Anthropology; Asian Studies; Conflict Resolution; Developing World; Film Studies; Geography; Globalization; History; Human Rights; Humanities; International Studies; Islamic Studies; Middle Eastern Studies; Political Science; Psychology; Social Justice; Social Psychology; Sociology; Urban Studies; Urban and Regional Planning; War and PeaceKeywords
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Yes, I talk with the minister,
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for you\'re going to Mazar uh… he said
there is no objection just tell him to,
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just contact the British,
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uh… from here Khwaja Rawash(ph).
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[sil.]
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All-time we look for to getting this… this completed, so
that what the children when the new school year starts,
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they can go to this school. And uh…
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No, we\'re not going to do that because
it is very difficult to us to
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uh… minister health is very well organized, there is a
lot of bureaucracy did getting a clinic up and going.
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So we\'re not going to do it,
it\'s going to be a school, Okay.
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All right, as they have any questions
for me. No, thank you very much.
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We just gonna look around the school… very good. We\'re are to
happy to be here and we\'re happy to do these for the development.
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…They just do as they
look after each other.
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[non-English narration]
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All future students go to school.
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For both men and women. Most
men are uneducated too.
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There are a lot more schools for boys.
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[non-English narration]
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The only thing is get you
probably (inaudible).
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Hope we can look at that.
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What they have down the centre
is a sanitary drainage system
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city of Kabul does not have under…
underground sanitary systems,
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everything is run on the surface. Anything that\'s coming
from that side, it\'s gonna be sitting here to corners,
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what we have to do now is, cut the corner of
the end of the side walk to create a path
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for any water in that, (inaudible) you want down the hill. Otherwise,
you just… this… this whole is just gonna be flooded right out.
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Regardless of how the shit and
garbage get\'s down this hill
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whether these stairs are here or not, there still
gonna be let it all the way down and be a mess,
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no matter what happens here.
If this gutter wasn\'t here…
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[non-English narration]
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Does he live around here Abdul?
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Yes, he lives up the road.
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[sil.]
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Always you\'ll pray to
the God to forgive you.
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No I believe in you. Because
you\'re the commander…
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I have confidence in this commander.
God bless you.
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May God make you even
stronger… for helping us.
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Since we are happy…
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God should also be happy with you. We\'re are
happy for you and God will be happy for you.
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All right, so we continue up the hill or… Pretty…pretty nice up
there. Okay. All right, (inaudible) we\'re gonna go up top. Just…
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A soldier knows… knows there is front and rear gate, and
in all around that front, rear gate there is a wall.
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And then the wall it allows in the protection
from (inaudible) blast protection.
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They know that they\'re on the inside,
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they… they wall around (inaudible) like I
am right now. That\'s sense like a hole.
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[sil.]
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So down here in this portion here, this is our area,
1,600 people. So it\'s basically, that\'s your hotels.
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The… and for every 64 people,
they have their own shower unit,
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which… which has five showers uh… five
toilets and of course, six sinks.
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Everybody\'s tent (inaudible) 4/8 space. And we\'ve ordered…
everyone will have a little wardrobe, umm… (inaudible),
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that\'s all the way now. And of course,
we had three different kitchens,
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I mean, there\'s no way in the world, you could tell me… you could
afford to go to a breakfast in the morning with the family and say,
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they\'re six(ph) towards the food for breakfast.
So you get anything from uh… like you see
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uh… towel, face cloths, from
toilet sheets to cappuccino.
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And now the soldiers are for certain things, we have except Gymnies, and
lot of soldiers want some of the uh… different uh… energy food stuff.
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They ordered for… yeah, and then of course, (inaudible),
stuff for the children and families back home.
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And all the basic utensils you need.
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Routines are very critical in (inaudible), only
because you know, kids get up the morning,
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they get on to bus, they go to school. The parents off to work,
whatever or the mother stays home but prepares(ph) for the day.
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Routines thrusts are… are… they\'re
almost systemic because they had to be.
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Because we have to have routines to the point now, lots of flexibility
built in, routines because we have the function based on a routine.
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And if we don\'t function on a routine
and something goes uh… stray,
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then what happens is we will know about… we\'re… we\'re
regressing(ph) as post-progressing, and we are…
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as you know, where we\'re mission oriented, everything has to be progressive.
We have to move ahead because we have all these different casket
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uh… that we plan to accomplish. And in order to accomplish
them we have to have that momentum going constantly.
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We have a low level battle that… that\'s
what throws you back and then restart.
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And as you now restart like
regression, it\'s just negativity.
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[music]
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I do three tours in the camp every day. One of
the things I do at 5.30 when first force starts,
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I walk around. I just uh… periodically, I drop
into uh… sleep area, see what\'s going on.
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I go to the shower unit, see if it\'s clean. And then, I\'ll go around,
I walk whole camp, I\'ll make sure cleanliness, see if it\'s not dirty,
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then I have them… I\'ll send them messages,
so and so areas dirty, get it sorted out.
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I represent all the soldiers
in the camp as the user,
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would I use the (inaudible) service made available, yes.
Would I use the combination (inaudible) in the unit? Yes.
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Would I uh… feel safe in the environment they
provide based on their internal security?
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Yes. It… it doesn\'t end, you know.
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So that makes the day go by (inaudible).
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[music]
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I made the (inaudible) of Afghanistan.
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[music]
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We have suggestion boxes in all of
the clubs, all of the uh… kitchens,
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the mess hall, they want to… they try to have
the same flavor juice everyday for a week.
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Mix up of that or you know, they
want bagels and we have them.
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(inaudible) 46 miles south.
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46 miles uh… (inaudible) knowing, you see the target
area (inaudible). We see it, trucks are gone.
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Right there where… where they\'re still talking. HMI
(inaudible), can you bring it up the channel B elevation.
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(inaudible) vehicle.
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(inaudible) or… or… Any person
(inaudible) you see. (inaudible).
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[sil.]
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[non-English narration]
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Yeah, another second. Other people
coming out of the house, right now.
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The people coming at the wars. Right now.
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[sil.]
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Come on officer, here we go.
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[sil.]
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Now you can see right here…
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Well, I don\'t want to see as it… if you
set the camera here more. Is that right?
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Yeah, because… Cameras are there
because we\'re (inaudible).
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How long you think it will take?
I don\'t know. So.
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Yeah, I think that\'s okay.
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(inaudible) showing…
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Oh, there… there is a bizarre on Saturday
morning\'s actually, should be today
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uh… it\'s out here and they can film (inaudible).
No, I don\'t need… I don\'t need a blanket.
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They say that they gave us the same prices so that, I\'ve
been feeling there some sharper bargaining going on there.
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[sil.]
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This is half our container,
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a shipping container. That\'s been converted.
You can just move your container in
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when are ready to move in, and they hook up the water and
they hook up the electricity. And you live in that container
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and there is a… a shower and
a towel in the bathroom.
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And in… in this main space, there is sink. I have a dresser but
that wasn\'t here when I moved in, and when I asked for the dresser.
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And then is desk and also small
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like (inaudible) size refrigerator down here, and
a TV and because there little sitting space.
00:45:35.000 --> 00:45:39.999
I also get on this rests, you know,
I get to lean back on… on my bed
00:45:40.000 --> 00:45:44.999
and sit there if I need to
that they have got I think.
00:45:45.000 --> 00:45:49.999
I don\'t even know for sure, that I think there\'s a one
or two sports channels. And then there is a news channel
00:45:50.000 --> 00:45:54.999
and movie channel. There is one
channel that\'s uh… a style…
00:45:55.000 --> 00:45:59.999
Fashion… fashion channel. Fashion channel and the people
told me that the marines watch the fashion channel.
00:46:00.000 --> 00:46:04.999
Everybody watches… Oh, really! I
didn\'t, I didn\'t realize that
00:46:05.000 --> 00:46:09.999
because I never watch that but…
00:46:10.000 --> 00:46:18.000
[sil.]
00:48:20.000 --> 00:48:24.999
Some people even lock their houses
at night. When a house is not safe,
00:48:25.000 --> 00:48:29.999
how can a women be safe?
00:48:30.000 --> 00:48:34.999
[sil.]
00:48:35.000 --> 00:48:43.000
[music]
00:48:55.000 --> 00:48:59.999
Okay, ask him how are you proceeds
00:49:00.000 --> 00:49:04.999
the current threat level right now in paghman
to major crime. Once again murders, stabbings
00:49:05.000 --> 00:49:10.000
and stuff like that.
00:49:20.000 --> 00:49:24.999
It never happened, So its
lower than the other areas.
00:49:25.000 --> 00:49:30.000
Yes, it will. No, never say never.
Never say never.
00:49:50.000 --> 00:49:54.999
In these 2 years?... None.
We\'re in the center.
00:49:55.000 --> 00:49:59.999
We know about every crime.
00:50:00.000 --> 00:50:04.999
Yeah. There is no robbery
cases in the (inaudible).
00:50:05.000 --> 00:50:09.999
According to last 3 months
00:50:10.000 --> 00:50:15.000
has major crime in paghman. Will you please…
Never, its lower. Never, it\'s always been…
00:50:20.000 --> 00:50:24.999
Yeah. He\'s an police and he is the major.
00:50:25.000 --> 00:50:33.000
Oh. Ask me if you can ask me couple of questions. With
that survey I need to ask the police officer, actually.
00:50:50.000 --> 00:50:54.999
It\'s seems that I\'m an intelligence, a member
of intelligence. Yeah, if you want to gave
00:50:55.000 --> 00:50:59.999
to go with us in our office. If you want…
00:51:00.000 --> 00:51:04.999
Oh, I\'m really tight for time, if he doesn\'t have
time, I can do this another day, maybe another day.
00:51:05.000 --> 00:51:09.999
We\'ll be back, we\'re here every day. Yeah,
if you ask some questions about the survey?
00:51:10.000 --> 00:51:14.999
Yeah, just six quick questions, what
we\'ve been asking, we have to ask…
00:51:15.000 --> 00:51:19.999
…reason type. Yeah.
00:51:20.000 --> 00:51:24.999
Every jungle has its lions and jackals…
00:51:25.000 --> 00:51:29.999
Here\'s one weapons(ph),
00:51:30.000 --> 00:51:38.000
a person (inaudible) and killed his uncle.
00:51:50.000 --> 00:51:54.999
Okay now while in crime in paghman.
00:51:55.000 --> 00:51:59.999
How does he proceed it
higher in other areas?
00:52:00.000 --> 00:52:08.000
Here all the women are veiled. Nobody
can attack them in their homes.
00:52:10.000 --> 00:52:14.999
Since women don\'t leave the house…
00:52:15.000 --> 00:52:19.999
there are fewer crimes... None at all.
00:52:20.000 --> 00:52:24.999
We have a probation, a culture here. We
don\'t let the women to get out from houses
00:52:25.000 --> 00:52:29.999
and they all safe in the house.
00:52:30.000 --> 00:52:34.999
So as in the last three months
00:52:35.000 --> 00:52:39.999
then it\'s gone down. Yeah.
Yeah. It gone down. Okay
00:52:40.000 --> 00:52:48.000
[music]
00:53:10.000 --> 00:53:18.000
[non-English narration]
00:53:25.000 --> 00:53:33.000
[music]
00:54:45.000 --> 00:54:49.999
[sil.]
00:54:50.000 --> 00:54:58.000
[music]
00:55:10.000 --> 00:55:18.000
[music]
00:57:25.000 --> 00:57:30.000
[non-English narration]
00:58:25.000 --> 00:58:33.000
[non-English narration]
01:00:20.000 --> 01:00:28.000
[sil.]
01:00:30.000 --> 01:00:38.000
[music]
01:01:00.000 --> 01:01:05.000
[music]
01:01:20.000 --> 01:01:25.000
[music]
01:01:40.000 --> 01:01:48.000
[music]
01:02:55.000 --> 01:03:00.000
[sil.]
01:03:35.000 --> 01:03:40.000
[music]
01:05:20.000 --> 01:05:28.000
[music]
01:05:55.000 --> 01:06:00.000
[sil.]
01:07:20.000 --> 01:07:28.000
[sil.]
01:07:55.000 --> 01:07:59.999
[non-English narration]
01:08:00.000 --> 01:08:04.999
It shall has a file,
01:08:05.000 --> 01:08:09.999
with the photo and then I
go to visit the family.
01:08:10.000 --> 01:08:14.999
I ask about a situation soon if they
have water, a variable in the compound
01:08:15.000 --> 01:08:19.999
if they have or so a toilet etc., etc.
01:08:20.000 --> 01:08:24.999
Yes, this is Latifa, she
is eight years old,
01:08:25.000 --> 01:08:29.999
and she has no parents.
01:08:30.000 --> 01:08:34.999
This is Faheema, she is
oldest, uh… she cannot
01:08:35.000 --> 01:08:39.999
she is with me in little group
because she cannot really
01:08:40.000 --> 01:08:44.999
uh… understand alphabet etc. So I… I used to
teacher her a little bit (inaudible) alphabets.
01:08:45.000 --> 01:08:53.000
[non-English narration]
01:09:05.000 --> 01:09:13.000
[sil.]
01:09:15.000 --> 01:09:19.999
I know what you want.
01:09:20.000 --> 01:09:24.999
This is what you want?
Aleph, you want aleph,
01:09:25.000 --> 01:09:29.999
but you put a dot, you put.
01:09:30.000 --> 01:09:38.000
[sil.]
01:09:45.000 --> 01:09:53.000
[music]
01:10:05.000 --> 01:10:09.999
Rope playing?
01:10:10.000 --> 01:10:14.999
Okay, and after? After (inaudible).
(inaudible), and after?
01:10:15.000 --> 01:10:20.000
After (inaudible).
01:10:25.000 --> 01:10:30.000
[music]
01:10:35.000 --> 01:10:40.000
[music]
01:11:15.000 --> 01:11:19.999
[sil.]
01:11:20.000 --> 01:11:24.999
Sometimes some big boy have very
violent, but not against the near one.
01:11:25.000 --> 01:11:29.999
There violent in there behavior, shout a
loud, they… they… they (inaudible) the ball
01:11:30.000 --> 01:11:34.999
and you know, shh very… very you know
excuse in very violent, violent way.
01:11:35.000 --> 01:11:39.999
But I think this is the way to express
themselves, because they… all this kids,
01:11:40.000 --> 01:11:44.999
were raised under the Taliban
01:11:45.000 --> 01:11:49.999
and also they… they have just,
live complicated in Afghanistan.
01:11:50.000 --> 01:11:54.999
But they watches me, they
understand that we are
01:11:55.000 --> 01:11:59.999
not to… but people I mean,
and then like the pussy cat,
01:12:00.000 --> 01:12:04.999
they just come nearer and nearer, and now they just
impress me, you know, we touch each… each other
01:12:05.000 --> 01:12:09.999
we have no problem at all. But at the first time,
no never I would never touch one… one child
01:12:10.000 --> 01:12:14.999
but now you see, now my reaction,
01:12:15.000 --> 01:12:19.999
I don\'t attract them to their just come, and…
and it so nice, I mean, it\'s… it\'s cute.
01:12:20.000 --> 01:12:24.999
There need a lot of… of care,
they need lot of respect,
01:12:25.000 --> 01:12:29.999
they need a lot of freedom,
and they need a lot of love.
01:12:30.000 --> 01:12:35.000
[sil.]
01:12:40.000 --> 01:12:44.999
From the Canadians, no, no.
01:12:45.000 --> 01:12:49.999
[sil.]
01:12:50.000 --> 01:12:54.999
Abdul, this come from the Canadian.
01:12:55.000 --> 01:12:59.999
Yeah, also good.
01:13:00.000 --> 01:13:08.000
[non-English narration]
01:13:10.000 --> 01:13:18.000
[sil.]
01:13:20.000 --> 01:13:24.999
…uh… college? I worked in garbage(ph),
I was going to school, yeah,
01:13:25.000 --> 01:13:29.999
I was going to school, I was going to
central(ph). Then uh… lot of pressure was on me
01:13:30.000 --> 01:13:34.999
and I was working painting too, now
I know painting very well. Yeah.
01:13:35.000 --> 01:13:39.999
All right fellows, when I come back
here, I talk to the contractor, okay.
01:13:40.000 --> 01:13:44.999
Yeah. Thank you, officer. All right.
Good meeting you, (inaudible)
01:13:45.000 --> 01:13:49.999
okay, just take care be careful. We gonna go
on truck now. We don\'t want anybody hurt.
01:13:50.000 --> 01:13:54.999
[music]
01:13:55.000 --> 01:13:59.999
Okay raise your hands back up.
01:14:00.000 --> 01:14:04.999
Okay.
01:14:05.000 --> 01:14:09.999
And I…
01:14:10.000 --> 01:14:14.999
I cant even articulate it, but I just feel that this is a
different mission and all the other one\'s have been on.
01:14:15.000 --> 01:14:19.999
There is destruction
01:14:20.000 --> 01:14:24.999
as at a level that I\'ve
never seen before really.
01:14:25.000 --> 01:14:29.999
[music]
01:14:30.000 --> 01:14:34.999
I\'m not sure about raw moving
in the same direction.
01:14:35.000 --> 01:14:39.999
And role of large is, is trying to be established,
the police were we trying train them.
01:14:40.000 --> 01:14:44.999
So peace mail, I\'m ready to accepted
because I have no other way to…
01:14:45.000 --> 01:14:49.999
to uh… to contribute, and I\'m hoping that
01:14:50.000 --> 01:14:54.999
at the end of all the things, we done here and
my successful hoping that all of that is gonna
01:14:55.000 --> 01:14:59.999
be moving in that direction that we…
we should have been going all along.
01:15:00.000 --> 01:15:04.999
The Afghanistan is not clear in my
head, I was able to clear myself
01:15:05.000 --> 01:15:09.999
in Bosnia(ph), (inaudible) and all
these places, but I can’t seem to,
01:15:10.000 --> 01:15:14.999
to do that now.
01:15:15.000 --> 01:15:19.999
[music]
01:15:20.000 --> 01:15:25.000
[sil.]
01:15:40.000 --> 01:15:45.000
[music]
01:17:10.000 --> 01:17:15.000
[music]
01:17:25.000 --> 01:17:30.000
[music]
01:17:40.000 --> 01:17:45.000
[sil.]
01:17:50.000 --> 01:17:55.000
[music]
01:19:00.000 --> 01:19:05.000
[music]
01:19:20.000 --> 01:19:28.000
[music]
01:19:30.000 --> 01:19:38.000
[sil.]
01:22:30.000 --> 01:22:38.000
[sil.]
