Old men in beards look askance, but as Amin tells the interviewer, there was no word in the Afghan language for homosexual. The story goes back to 1984, when Amin is a happy little boy who runs around Kabul in his sister’s dresses. He is then free to use animation as dramatic re-creation, a necessity, because no one could have filmed some of the things that have happened to Amin and his family since they fled Afghanistan in 1989. It’s not quite a new idea, but Rasmussen uses it effectively to show the roots of the story.
