The Breadwinner
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The Breadwinner

The Breadwinner just over ten years ago, before an unfortunate trial and house arrest, Iranian filmmaker Jafar Panahi The Breadwinner directed the film Offside, in which a group of girls made the dangerous decision to camouflage themselves and enter a soccer stadium to watch live and live the performance of your favorite team. The stories of women forced by the uses, customs and impositions of society to disguise themselves as men to achieve some goal – simple or complex, it doesn’t matter – runs through the history of humanity and that of the narrative arts. In recent times, the inequalities between the two sexes in certain parts of the world have led to this decision, almost always risky, becoming a step that is often mandatory for the simplest of survival. One of those fictional stories, although based on a handful of real cases, is related in the children’s book The Breadwinner, by Canadian author Deborah Ellis, originally published in 2002 and known in Spanish as El pan de la guerra. That is also the story of its film adaptation, recently faced by Irish filmmaker Nora Twomey and her team at Cartoon Saloon, which, as its name implies, specializes in the production of animated short films and feature films, although in a very different aspect from the mainstream of animated cinema. In the film (which was nominated for an Oscar and can now be seen on the Netflix platform) Parvana, an eleven-year-old Afghan girl, is pushed to change her appearance after the arrest of her father by a group of Taliban. The absence of another man in the family group – completed by a mother, a sister and a little brother – makes the most terrible deficiencies begin to be suffered, and her condition as a woman can still go unnoticed after a neat haircut and an outfit. convenient. Parvana thus becomes Kaseem, the one who earns the bread for that transformed family, thanks to the most terrible injustice, into a clan of outcasts.

Duration: 94 min

Release:

IMDb: 7.7