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When he finds a blonde, blue-eyed sex doll dressed in a star-spangled bikini in the dump, he is not only attracted by it himself, he foresees that the local boys will be so too, and opens up a makeshift brothel in a motorized rickshaw. However, this business venture might not be the most suitable in the cultural climate of urban Iraq and the boys soon discover that their free-spirited way of thinking — and love for women — is not appreciated. The film is to some extent about the impact that the American war has had on Iraqi society — and the blonde sex doll represents this among other things.
What inspired you to make this film? It is loosely based on a true story. Iraq was isolated during the sanctions, so Iraq was a big prison for us. We did not have access to anything outside the country and had no idea what was going on.
Back in and , the Americans invaded the country and it was a mess. One day, I was at the university waiting for a friend of mine, who was late and he showed up with a plastic bag in his hand and wanted us to meet in the university toilet. He opened the plastic bag and there was a sex toy in it: a vagina. It was a shock for us. It was something we had not seen before. And teenage boys started using it and one day a guy took it and he had boiled it to try to clean it up and it was completely destroyed.
That was the end of the business for the toy. I was very angry when I left the theatre. How can filmmakers sexualize war? Promote it? It is a story about a sniper looking very sexy and with a sexy gun shooting Iraqis — whether they are terrorists or not, they are human beings. The sniper was made into a hero, and that was what triggered me to write Hanging Gardens.
I left the theatre and I wanted to tell our story. I wanted to tell an authentic Iraqi story about what happened after the occupation. The title of the film, Hanging Gardens , makes you think of Babylon, which was located near Baghdad.