The title of this film alludes to the discovery of a literal Kabuli kid by a taxi driver. That’s right—a cabbie finds a baby in the backseat. A complex portrayal of the cab driver Khaled’s life, his city, and his culture follow. This drama draws you in and simultaneously exposes you to the quietly disturbing vision of modern Afghanistan. As soon as Khaled surmises that this “drop-off” was premeditated, he panics. After a few failed attempts to turn the baby in to the authorities--an orphanage and a police station-- Khaled reluctantly takes the infant to his own home, only to surprise his wife and four daughters. To his family, it appears that this is Khaled’s desperate attempt to have a male child. Khaled is torn emotionally between keeping and rejecting the child, and a series of adventures ensues. The situational family dynamics reveal a very complex set of rules--perhaps contradictory and hypocritical rules to westerners. However, this film establishes the cultural context so well that Western audiences are shown grey, not the usual black and white. An unexpected disclosure in the story later forces re-evaluation of Khaled’s behaviors. Director Akram subtly depicts the ubiquity of war in Afghanistan, and audiences are constantly exposed to the gritty rubble of the streets and the threatening aspects of curfews—two indicators of an unstable city trying to get back to “normal” after 25 years of strife. Barmak Akram’s debut is informed by his experience as a documentarian, and this is evidenced in his scenes of cabbies jabbering with one another, of pedestrians from all walks of life, of armored cars and American tanks, and of donkeys and random cattle—all of which keep the streets of Kabul a non-stop, chaotic landscape. This action-packed drama, which is often very funny, ultimately is about one man’s decision about how he wants life to be in a city which is only attempting to survive.

Director Kazuyoshi Kumakiri makes films about people on the fringe of society. In Nonko 36-sai, Kumakiri’s seventh and sweetest film, his protagonist is no exception; Nonko (Maki Sakai) once worked as a small-screen starlet, but her career never took off. She’s a divorced thirty-something who, lacking ambition, goes back home to her parents to help them maintain a Shinto shrine, mainly doing domestic chores. The Japanese title translates roughly into "Non-ko, 36, household helper," which conveys the essence of how people perceive her now. The title illustrates how she’s moved from rising Tokyo actress to provincial laborer. Only the naïve Masura, a younger man she meets while working, can return a smile to Nonko’s face. This story is an awkward love story, and a highly original one that realistically portrays the complexities of a bitter woman in her 30s who eventually becomes more emotionally and physically responsive. The developing relationship is challenged when her ex (Shingo Tsurumi) shows up tempting her with the offer of stardom again, and she lacks judgment in her dealings with him. Whether you possess an Eastern or a Western sensibility, you’ll still recognize this woman’s character, and while her bad choices are sometimes hard to watch, they are somewhat expected. Watching Sakai’s most human performance is one of the highlights of Nonko. The cinematography is also visually capturing and most memorable is a chase scene, in which a yellow baby bird runs through a field of pink daisies. In general, this film radiates natural warmth, and helps us look forward to tomorrow just a little bit more.