Black Kite opens with a man on the ground, beaten and bloodied as he faces a Taliban “court.” Writer/director Tarique Qayumi lets us know from the jump that we’re in for one tough ride. His film, Black Kite, follows one beleaguered man’s life to drive home a broader message about the state of Afghanistan. Qayumi also includes archival footage and animated segments to give the audience greater context for this wrenching family drama.

The doomed man in the opening scene is our protagonist Arian (Haji Gul Aser). The film starts shortly after the Taliban have found him guilty of breaking Sharia law. For what, though, remains a mystery. Sentenced to death, Arian winds up in a cell awating his execution. He spends his final hours with his dickish cellmate Najib (Sin Mim Alavi). Najib refuses Arian so much as a sip of water without getting something in return. Arian trades his life story for a drink and the film unfolds as a series of flashbacks starting with his boyhood and continuing until his confinement. Arian’s life covers five tumultuous decades which include Afghanistan’s golden years, the Russian invasion, and the Taliban insurgency.

Watching movies over the years I’ve seen more Afghan bad guys then I can count. They’re usually terrorists and thugs and when Hollywood feels generous, cab drivers. In these increasingly intolerant times, it’s crucial that we see stories that humanize people the media classes as “others.” Qayumi delivers a version of Afghanistan we don’t often see. Or as Arian puts it, “A period when Afghans could hold their heads high without dodging bullets.”

Black Kite features archival film ranging from the 60’s to present day. And none of it is as affecting as that early footage. Under King Mohammed Zahir Shah’s rule, it became mandatory that every child attended school. We see old clips of bare-skinned women smiling as they walk through the streets, musicians performing, and even fashion shows. If you’re used to seeing images of Afghanistan on the evening news than the footage from the 60’s may look ripped from an alternate dimension. Even though we all know what happens next, these glimpses of the past make the rest of the story harder to watch. Qayumi also inserts horrific archival footage. As the Taliban rise to power, we see book burnings, a woman who is beaten, and an execution.

The several decades that the movie spans is a lot of ground to cover. The film’s dramatic execution reminds me of the saying, “A mile wide and an inch deep.” We never connect with Arian or the people around him so most of his interactions feel hollow. We don’t bond with any characters because no one in the story sticks around for long. Black Kite gets its message across clearly at the expense of telling a compelling dramatic story. Everyone feels like ciphers passing through Arian’s life and the picture feels more like a parable than a feature film.

Arian isn’t a compelling character, but Haji Gul Aser plays him with a soulfulness that kept me watching. Years of anguish has emotionally scarred Arian and we can see how that sadness lingers in his eyes, even during his happiest moments. Arian has a complicated relationship with his homeland; he must confront the notion the country he loves may be dead and gone forever. It’s not easy for an actor to express this love/hate sentiment. Performed by a lesser actor, Arian comes off as a stick in the mud. In Gul Aser’s hands, Arian comes across as world-weary. Gul Aser is a fine actor, but this role underutilizes his talents.

I’m conflicted about Black Kite. Most of the characters are shallow, the dialogue is too on the nose, and its message feels heavy-handed. And as a result, Black Kite isn’t an easy or enjoyable watch. Black Kite does a better job contextualizing the tragedy affecting people Hollywood so often “others.” Although the film didn’t work for me, I’m excited to see what Qayumi does with a few more features under his belt.

Black Kite is playing exclusively at the TIFF Bell Lightbox.