Bahman Ghobadi has become one of the world's most interesting directors after only three feature films. His work centers on Kurdish life in difficult circumstances. These comments on his film Half Moon were provided by Strand Releasing.

NIWEMANG MEANS HALF MOON
Niwemang means Half Moon in Kurdish. The title refers to the film’s story as being about Kurdistan being half visible and half hidden. I hope the audience becomes tempted to reach the hidden part of Kurdistan while watching the film. . . Niwemang is also a rare Kurdish name, and the name of a surprise character in Half Moon.

IRANIAN KURDISTAN
Half Moon was shot in Iranian Kurdistan, near the Iraqi border. A few short scenes were actually shot in Iraq. “Kurdistan” is generally held to include areas in eastern Turkey, northeastern Iraq, northwestern Iran and Syria. But the Kurdish people don’t recognize borders. They are their own nation regardless of borders. There are around 40 million Kurdish people worldwide, mainly in Iran, Iraq, Turkey and Syria. They make up one of the largest ethnicities without a recognized state nor an official geographical region.

COMEDY & TRAGEDY
I have seen lots of tragedy in my life. Tragedy is deeply rooted in me. But I don’t like making films only with sad stories, so I add in comedy. I like to mix comedy and tragedy and I use this as a model for my films. This combination of comedy and tragedy is the essence of Kurdish life. The Kurds have undergone so much tragedy through the ages. To combat this, they seek refuge in humor and music. This will get them through; this gives them hope for a destination that is other than bitter.

KURDISH CHARACTERS
The characters in Half Moon are based on people I remember from my childhood. They are very passionate and emotional. The personalities of real people I have met inspire the creation of my film characters. In the same way, I have also experienced most of my film’s atmospheres . . .  Most of the cast are what is referred to as non-professionals. In Kurdistan, we have no trained actors, and no established film industry, so I have always searched long and hard for my cast. But even though I do use nonprofessionals, I still work with them as if they were actual professionals. I direct them so that they can be totally at one with their characters.

OPENING SEQUENCE
Cockfights are quite common in Kurdistan. They usually take place on the weekends. For many people, they are a popular form of entertainment. I have strong childhood memories of cockfights; I have seen many. A staged cockfight with many spectators opens Half Moon I wanted to share this very different atmosphere and experience with the audience. Cockfights are all about gambling, as is the journey old musician Mamo and his sons are about to make. The scene also serves as a good introduction to cockfighter Kako, who is a big admirer of Mamo and who will eventually serve as bus driver for the journey.

MAMO, THE OLD MUSICIAN
I know lots of people like Mamo. He and his sons are very common Kurdish characters. All over Kurdistan, you can meet musicians like them. For decades, Mamo has led an oppressed existence. In Half Moon, Mamo wants to experience the savoring of freedom and playing his favorite music. This is basically an impossible mission for him. But his journey with his sons is one of love for homeland and music.

HESHO, THE CELESTIAL VOICE
The female singer Hesho in Half Moon represents the countless oppressed women who do not have the right to sing. In Iran, women are forbidden to sing solo in the presence of men. There are only a few places where women are authorized to sing for a female-only audience. Hesho’s “celestial” voice is an homage to all Kurdish female singers. In Half Moon, Hesho is exiled along with 1334 female singers in a magical mountain retreat. This place is not real, it comes from my imagination. It’s also in honor of all the Iranian female singers who do not have the right to sing in public and are exiled to their own homes. The actual female singing voice heard in Half Moon belongs to a student of composer Hossein Alizadeh, who is one of Iran’s most acclaimed musicians.

KURDISH MUSIC
Although it differs among the geographical regions, music plays an important part in the solidarity among Kurdish people. There is not a single Kurd who doesn’t know how to sing or play a musical instrument. Just as there is no way to find a single Kurd who has not lost someone close due to war or oppression. The Kurdish people are almost intoxicated by their fate. Music is a way for them to transcend that. I love music, especially Kurdish music. I cannot live, eat, rest, think nor write without music. I’m always singing at home. The ideas for my films usually come to me while I’m listening to music.

MOZART’S REQUIEM
Mozart’s Requiem was the path that led me to do this film. During writing and production, I kept thinking about both Mozart and Mamo at the end of their lives. For me, the Requiem shares a very close feeling to Kurdistan’s haunting landscape. During shooting, I often listened to Mozart’s music in my private moments. I loved the idea of making the character of Mamo a sort of Kurdish Mozart. I hope I have fulfilled that dream and brought Mamo’s spirit close to Mozart . . .  Just a little something to think about: While we’re celebrating Mozart’s 250th birthday in 2006, in my country, women are still banned from singing.