Fateful developments and surprising twists in the lives of their protagonists are welcome ingredients for documentary filmmakers. But when the director and his family are themselves the protagonists in their own film, every threatening situation becomes a conflict of conscience. Is it right to film every dramatic moment or is it morally wrong to think about a good film scene in the midst of misfortune? In 2015, a death threat from the Taliban saw Afghan director Hassan Fazili and his wife Fatima Hussaini, also a filmmaker, in exactly this situation. Together with their two daughters Nargis (11) and Zahra (6), they flee from their homeland to distant Europe in search of safety. The couple, and their two daughters, use their mobile phones to film their journey, which was to last several years. On the Balkan route, during long and uncertain stays in various refugee camps, they draw strength from documenting their difficult situation. Despite adversities and setbacks, the parents never once lose their humanity. They bear all manner of hardships and hope for a better future for their daughters, who become more and more independent as the long journey progresses.
|Original Title||Midnight Traveler|
|German Title||Midnight Traveler|
|French Title||Midnight Traveler|
|Other Titles||Midnight Traveler|
|Directed by||Hassan Fazili|
|Film Editing||Emelie Mahdavian|
|Cinematography||Fatima Hussaini, Hassan Fazili, Nargis Fazili, Zahra Fazili|
|Production||Emelie Mahdavian, Su Kim|
Sundance Film Festival 2019
World Cinema Documentary Special Jury Award
Lobende Erwähnung der Friedensfilmpreis-Jury
Publikumspreis 2. Rang
Visions du réel: Grand Angle - Prix du Public
«Mit drei Mobilfunkgeräten haben sie daraus ein Roadmovie gemacht, das viel mehr als bloss eine Art Logbuch der Selbstrettung einer Familie ist. 'Midnight Traveler' setzt Angst, Frust und zermürbender Langeweile eine Poesie des Augenblicks entgegen, die sich aus Wolkenformationen, Vogelschwärmen, dem Lachen der Kinder, den Gesprächen der Eltern ergibt. Die Rettung ist auch das gute Bild.» Tagesspiegel
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