A Perfume of Memories: The Iraq We Forget

Fevat Alani’s poignant animation, “Flavours of Iraq,” conjures up the past while serving as a reminder that our collective memory of Iraq is fragmented and often manipulated. As a French-Iraqi journalist, Alani’s account of his childhood in 1980s Paris, where he grew up with his family in exile, is both deeply personal and historically significant.

The animation’s stylized and expressionist style suits the fractured nature of memories, which can be both vivid and unreliable. Alani’s narrative is interspersed with anecdotes from his father’s funeral, where a group of Iraq’s 1970s socialist diaspora gather to share stories of their lives in exile. These recollections are woven together with Alani’s own reminiscences of visiting his extended family in Iraq towards the end of the decade.

This is not just a story about one man’s childhood; it’s also a testament to the power of memory and its ability to shape our understanding of history. Alani’s experiences, both as a child and as an adult returning to Iraq, highlight the complexities of identity and belonging. He navigates between two worlds: the cosmopolitan city of Paris and the war-torn streets of Baghdad.

The film critiques how we remember – or forget – historical events. The socialist diaspora that Alani’s father was part of has largely been erased from our collective memory, overshadowed by the dominant narrative of Saddam Hussein’s regime. By sharing their stories, Alani’s film challenges this erasure and reminds us that there are multiple perspectives on any given event.

As we watch “Flavours of Iraq,” it becomes clear that history is often written – or rewritten – over time. The film serves as a warning against the dangers of nostalgia, particularly when it comes to our memories of war and conflict. Alani’s story shows that even the most vivid memories can be fragile and susceptible to manipulation.

The animation’s use of silhouette cutouts and vibrant colors creates a dreamlike atmosphere, drawing the viewer into Alani’s world. The narrative is both deeply personal and universally relatable, making it easy to become lost in the memories of Baghdad and Falluja in the 1980s.

Alani’s vivid descriptions of the fragrances of Baghdad serve as a reminder that our memories are often tied to sensory experiences. Smells and tastes have a way of transporting us back in time, evoking emotions and sensations that we thought were long lost. By exploring these memories, Alani’s film encourages us to re-examine our own relationship with the past.

As we reflect on “Flavours of Iraq,” we are left with more questions than answers. What does it mean to remember a war-torn city? How do we hold onto our memories when they are threatened by time and trauma? And what role do we play in shaping – or distorting – our collective memory?

Ultimately, Alani’s film is not just about his own experiences; it’s also an invitation to explore the complexities of memory and identity. As we watch “Flavours of Iraq,” we are reminded that memories are fragile and ephemeral, but they can also be powerful tools for understanding ourselves and our place in the world.