Inspired by true events, “Osama” is the first film from Afghanistan to come since the fall of the Taliban and is, at its core, mainly the Afghan response to the Taliban reign. Instead of using Hollywood means to draw out drama and emotions, “Osama” has a subject matter and a fantastic lead performance that drive the feelings home.

At the very outset of the film, a small boy is enticing an obviously American filmmaker who is making a documentary concerning Afghanistan to give him money. Immediately following, there is a demonstration by Afghan women for the right to work at the hospital the Taliban is closing. What ensues is the retaliation, including fire hoses and gunfire, by the Taliban to control the situation.

After losing their jobs, Osama (Marina Golbahari) and her mother (Zubaida Sahar) deliberate over what action should be taken to survive. With Osama’s father and uncle killed in the Russian Wars, and the Taliban not allowing women to work or leave their homes without a man, the only option for them to survive is changing Osama into a boy; the only hitch is that if the Taliban finds out, Osama will be killed.

While working at a small shop, everything seemed to be going well until Osama bin Laden orders all boys to be trained for war. When in training, the other boys start to suspect Osama as being a girl. The way she looks, talks and acts are sure to give her away before long, but with the help of friend Espandi (Arif Herati), they hope to keep Osama alive.

What creates the drama in the film is the outrageous circumstances of the citizens, most of all the women, dealing with the rule of the Taliban. When the hospital closes, struggling patients must share IVs and be manually fanned down for more oxygen. In what would seem to be an ancient form of justice, criminals are brought before a judge for punishment. However, the punishments range from shooting lines, being stoned to death, buried alive or given away as slaves.

The efforts of two people in this film make it truly appealing. Heroine Golbahari was only 13 when director Sedigh Barmak discovered her while begging on the streets of the ruined capital. In her first acting experience, Golbahari gives a touchingly real performance. Multi-talented Barmak takes credit for producing, directing, writing and editing “Osama,” his first film effort in every category.

The only element that confuses “Osama” is the initial American documentary filmmaker. Opening the film this way not only disrupts diagetic space, but it also makes the transition into the rest of the film difficult. When the American is reintroduced at the outdated trial to be killed, an obvious nod to Daniel Pearl, it becomes apparent the director’s intention points to the global marketing and connection of “Osama.”

This film carries poignancy in current events, female empowerment (or the lack thereof) and racial oppression – topics which should hold powerful for some time since the War on Terror shows no signs of ending soon.