Final Exam essay On

The films Osama (2003) and For Sama (2019), though distinct in terms of genre, style, and context, both center around the experiences of women living in oppressive, war-torn societies. Directed by Siddiq Barmak, Osama is a fictional drama about a young girl forced to disguise herself as a boy to survive under the Taliban regime in Afghanistan. For Sama, directed by Waad Al-Kateab and Edward Watts, is a real-life documentary that chronicles the experiences of Waad Al-Kateab herself, a journalist and mother, during the Syrian Civil War, particularly in the besieged city of Aleppo. While Osama uses fictional storytelling to address the brutal oppression of women under religious extremism, For Sama offers a first-person account of the trauma, resistance, and resilience of a woman amidst war. Despite the difference in approach—one fictional and the other documentary—both films intersect in their powerful depictions of women’s agency in the face of systemic violence and patriarchal control.
Plot Overview of both the films :
Osama follows the story of a young girl in Afghanistan during the Taliban’s rule. With her father deceased and her mother unable to work due to the Taliban’s oppressive laws against women, the girl is forced to disguise herself as a boy, “Osama,” to secure a job and support her family. She eventually works with a group of Taliban soldiers but constantly faces the danger of being discovered. The story emphasizes the extreme measures women had to take to survive in an oppressive society. In contrast, For Sama is a personal documentary by Waad Al-Kateab, who filmed her experiences in Aleppo while pregnant and raising a daughter amidst the devastation of the Syrian civil war. Al-Kateab documents the bombings, violence, and humanitarian efforts within the city, but the emotional core of the film revolves around her own internal conflict—balancing her role as a mother with her desire to document the atrocities and resist the Syrian regime’s violence. The film also showcases the bravery of women like Al-Kateab, who defy traditional gender roles in a war-torn society to help others and stand up for their country’s freedom.
Representation of Women and Gender Identity:
Both films highlight the struggles and resilience of women in deeply patriarchal, conflict-driven societies. In Osama, the protagonist’s forced disguise as a boy underscores the theme of gender oppression under the Taliban. Women are rendered powerless under the regime, and the girl’s transformation into “Osama” becomes a matter of survival rather than self-expression. For Sama presents a different yet equally profound exploration of gender in the context of war. Waad Al-Kateab’s personal narrative emphasizes the role of women as both mothers and fighters in a society where women’s voices are often marginalized. In the context of the Syrian civil war, women like Al-Kateab break the traditional mold of domesticity and move into the public sphere to document, resist, and provide aid during the conflict. Despite the immense personal cost—risking death, witnessing devastation, and enduring emotional trauma—For Sama portrays women’s active participation in the resistance. Both films represent women as not only survivors but also agents of change. However, the contexts differ: Osama presents women as victims of a repressive political regime, whereas For Sama portrays women in the midst of an ongoing civil war who, despite the collapse of their society, actively participate in resistance movements and humanitarian efforts. Both films challenge the stereotype of women as passive victims, showing them as resourceful, courageous, and deeply involved in shaping the narrative of their respective struggles.
Critical Analysis of Themes and Cultural Context:
While both films engage with the theme of women’s resistance in the face of patriarchal oppression, they differ in their cultural and political contexts. Osama critiques the Taliban regime’s use of religious extremism to justify gendered violence and suppression, portraying the severe limitations placed on women under this ideological system. For Sama, on the other hand, provides a more intimate and complex exploration of how women participate in and resist war. Al-Kateab’s documentary goes beyond merely illustrating the victimization of women in conflict zones; it reflects a nuanced portrait of the emotional toll war takes on individuals, particularly women who bear the burden of being caregivers and nurturers Both films make clear that women’s struggles cannot be reduced to a single narrative of victimhood; rather, women in both Osama and For Sama are shown as complex individuals making difficult choices to survive, resist, and care for their families and communities.
Technical Elements and Storytelling Approach:
In Osama, the cinematography emphasizes the bleakness of the protagonist’s world. Long, static shots and muted colors create a sense of confinement and isolation, amplifying the feeling of oppression and fear. The film uses close-ups to highlight the protagonist’s internal struggle and fear of discovery, enhancing the emotional resonance of her journey. The film’s slow pacing allows for a deeper exploration of the character’s emotional state, building tension and highlighting the harsh realities of life under the Taliban.
In contrast, For Sama employs a more dynamic style, using handheld cameras and real-time footage to immerse the audience in the immediacy of the Syrian conflict. The film’s raw, documentary style gives it a sense of authenticity and immediacy, while the voice-over narration allows for a reflective tone that contextualizes the events within her personal story. While both directors use different storytelling methods—fictional drama vs. documentary—they share a commitment to showcasing women’s strength and agency in oppressive circumstances.
Conclusion:
In conclusion, both Osama and For Sama provide powerful depictions of women’s experiences in oppressive societies, though they approach their subjects in distinct ways. Osama uses the lens of fiction to explore gender oppression under the Taliban, while For Sama offers a real-life account of resistance, survival, and motherhood amidst the Syrian Civil War. Both films challenge traditional stereotypes of women as passive victims, portraying them as resilient, resourceful, and actively engaged in shaping their own stories.