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Girls of the Sun

Girls of the Sun

Drama · War · 2018

Bahar, the commanding officer of the Daughters of the Sun, a battalion made up entirely of Kurdish female soldiers, is on the cusp of liberating their town, which has been overrun by ISIS extremists.

Movie details

Girls of the Sun

“Women. Life. Liberty.”

2018 Drama · War 1h 51m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Bahar, the commanding officer of the Daughters of the Sun, a battalion made up entirely of Kurdish female soldiers, is on the cusp of liberating their town, which has been overrun by ISIS extremists.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Girls of the Sun?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Men in War

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War · 1957

In Korea, on 6 September 1950, Lieutenant Benson's platoon finds itself isolated in enemy-held territory after a retreat. Soon they are joined by Sergeant Montana, whose overriding concern is caring for his catatonic colonel. Benson and Montana can't stand each other, but together they must get the survivors to Hill 465, where they hope the division is waiting. It's a long, harrowing march, fraught with all the dangers the elusive enemy can summon.

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Names above the title

The people responsible.

Directed by

Eva Husson

Written by

Jacques Akchoti · Eva Husson

Golshifteh Farahani

Golshifteh Farahani

Bahar

Emmanuelle Bercot

Emmanuelle Bercot

Mathilde

Z

Zübeyde Bulut

Lamia

Behi Djanati Atai

Behi Djanati Atai

Dahlia

Evin Ahmad

Evin Ahmad

Berivan

Erol Afşin

Erol Afşin

Tiresh

A

Arabi Ghibeh

Man in Black

Court is in session

Put Girls of the Sun on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.