Head of torturous Afghan jail on trial, 30 years later, in Dutch court

by Ambika
Feb 26, 2022

Pul-e-Charki Prison, Kabul, January 2012

A 76-year-old Afghan man, Abdul Razaq Arief, accused of abusing political prisoners in the 1980s, is currently on trial at The Hague district court. 

The Dutch court is trying Arief for war crimes, citing his role as commander and head of Political Affairs at the notorious Pul-e-Charkhi prison from 1983 - 1990 in Kabul. 

Reportedly, opponents of Afghanistan's Soviet-backed regime were "held without fair trial in appalling conditions," in which prisoners had "no shower, no soap, no heating, [and] no warm water." 

One witness detailed that prisoners were regularly tortured, "sometimes through electrocution, beatings or having their fingernails pulled out — and held in cramped and unsanitary conditions."

Arief stands charged with being an accessory to inhumane treatment and deprivation of liberty. If convicted, he faces a sentence of 20 years to life. 

"We think it's very important that these war crimes — the most serious crimes existing — are eventually prosecuted no matter how long ago they were committed," prosecutor Mirijian Blom stated. 

Arief told judges that this was a case of mistaken identity. The detainee, brought into the courtroom in a wheelchair, stated, "I am not the person you are looking for… I don't remember anything, not even my own name."

However, prosecutors are "convinced" they have the right person. They began investigating the case in 2012 after blogs tipped them off that Arief was living in the Netherlands under a false name. Since then, prosecutors and police have spoken to 25 witnesses worldwide. 

The father of four moved to the Netherlands as a refugee in 2001 and was later arrested in his home in 2019. He has been jailed ever since. 

Arief is tried under "universal jurisdiction." This is not the first time Dutch courts have tried war crimes committed in Afghanistan. In 2008, two high-ranking Afghanistan military intelligence service officers were found guilty of torture.

 

Read more here. 

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Tamil asylum seekers in Australia mark 100 days of continuous protests for permanent visas

Over 200 refugees and supporters marked a significant milestone by marching 10 kilometers from Australian Prime Minister Anthony Albanese’s office to the Immigration Minister’s office this week, commemorating 100 days of continuous protest.

This demonstration, which culminated in a rally and speeches in Punchbowl, highlighted the plight of refugees denied permanent visas for over 12 years. Speakers at the event shed light on the profound impact of the current system, including barriers to higher education, employment, and access to essential services.

The protest has now entered its 100th day, with Tamil asylum seekers and their supporters continuing their relentless demand for permanent protection. For 38 days, they camped outside Australia’s Minister for Home Affairs, Tony Burke’s office in Sydney, calling on the government to end the visa limbo that has left many without basic rights and stability. Tamil asylum seekers have been in Australia for over a decade, living on short-term visas that must be renewed regularly. Without permanent residency, they are excluded from Medicare—Australia’s universal health insurance scheme—and are denied the right to work, study, travel, or access essential services. Many are also required to report to visa offices weekly.

The crisis is compounded by the controversial 'Fast Track' system introduced in 2014 by the Abbott government. According to the Asylum Seeker Resource Centre, this system has resulted in the rejection of around 8,500 asylum seekers' cases. It specifically targets individuals who sought asylum by sea and arrived in Australia between August 13, 2012, and December 31, 2013. Tamil asylum seekers, stuck in visa limbo for years, have launched protests nationwide, with 24-hour encampments in Melbourne, Perth, and Brisbane.

Amaran - Problematic propaganda

amaran

The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

 

 

 

The patriotic military films of Tamil cinema had taken a back seat for a while. The subject matter is now seldom a prominent theme of a film, instead lurking in the shadows peeking through such as via the heroes in the works of Nelson Dilipkumar. The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

The film follows the tale of Major Mukund Varadarajan (Sivakarthikeyan) and his partner Indhu Rebecca Varghese (Sai Pallavi), who meet at college and soon become lovers. Indhu grapples with her lover’s life ambition of becoming a soldier for the Indian army, admiring his courage and more than willing to become his doting wife at home. We then watch as Mukund is stationed in Kashmir and follow along with his various missions in the volatile area. The film’s depiction of the Indian army is one solely made up of heroes rescuing civilians and looking out for the public’s interests. It is not necessary to delve too much into why this is an oversimplified and problematic portrayal.

The central performances by Sivakarthikeyan and Sai Pallavi carry the almost three hour film adequately. Despite moments where Sivakarthikeyan lacks the intensity to land highly emotional scenes, the pair deftly share the screen between them, with Pallavi picking up any slack. Another notable performance comes from Geetha Kailasam, a character actor who has featured in many films recently in the role of ‘the mother.’ ‘Amaran’ gives her another opportunity to showcase her own humorous brand of motherhood.

Technically, the film runs smoothly. The film is decently shot and edited. Other than a few overly melodramatic moments, the screenplay is solid, albeit a little superficial. GV Prakash Kumar continues his trend of matching the quality of the film with the quality of his music. The track ‘Hey Minnale’ is an earworm, but the rest of the score and soundtrack does not shine through.

Overall, ‘Amaran’ is a straightforward piece of propaganda. A shot in ‘Amaran’ depicts a soldier of the Indian army blocking a closing door with his rifle. On the other side of the door is a Kashmiri child. To appease the child, the soldier sneaks a chocolate bar through the gap in the doorway. The reverse of this tactic is what director Rajkumar Periasamy employs to hook his audience in: the sweetness of the Penelope-Odysseus relationship between Mukund and Indhu hides the intrusion of the weapon of jingoist ideology. 

Krishna's rating: 2.5 stars

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Official trailer for film below.

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