The Boy who Play on the
Buddhas of bamiyan
Filmed and Directed by Phil Grabsky
About The Film

that is almost overwhelming but, on the other hand, the normality of life. People are people and just want to get on with their lives. The first thing I did on my arrival was go and film in Kabul's main market just to see what people's reaction would be - and, pleasantly, there was little but smiles or disinterest. As for Bamiyan, one has to remember that the Hazara suffered very badly under the Taliban and are pleased the Americans (aka: Coalition Forces) kicked them out. So there is very little anti-American feeling. That said, it's wise to remain alert. One also has to be very cautious of mines - though these have largely been cleared from Bamiyan. There are, however increasing dangers else where. En route between Bamiyan and Kabul, on one occasion we were threatened and, on another occasion, we had to run an armed Taliban roadblock. This once again served to elevate my respect for camera teams and journalists who cover such areas week in, week out.

10. Was it difficult to persuade Afghan women to talk on camera?

Very. This was a huge concern to me from the start. Obviously, without women, one has only half the story. But culturally and historically women are not easy to approach and talk to. So it took time to build up a relationship with Mir's mother, creating a trust between us that would allow her to feel comfortable in front of

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