Burdened with noble goals, five young Frenchmen embark on a journey to deliver humanitarian aid to the Kakani region in Bosnia, during the period of civil war, but what began as a dangerous humanitarian mission on a bumpy road in the snow and cold, took a different path that made all their assumptions subject to question and skepticism. What's really in the boxes? Where are they going? What awaits them there on the other end? In addition to having to cross real checkpoints, they will also face more difficult intellectual barriers. What do the victims really need: survival or victory? What must be found: the animal survival instinct that requires only food and housing, or the human sense of dignity that requires means of resistance?
In an interesting and well-paced plot, the French writer Jean-Christophe Ruffin raises very profound questions about humanitarian work: its feasibility, its motives, and how to be truly humanitarian to the fullest extent. These are questions that the novel's characters keep asking themselves, and to each other, throughout a dangerous journey that may change their convictions, and perhaps their destinies, forever.
Life is a drama, and drama is a drama within this drama, and most of it talks about this drama that emerges from it, and the process of acting is the enemy of this drama. The more we are honest in presenting this drama, and the more we are spontaneous, the more we seem real, and the exact opposite is true. When you look like you are acting, you will be closer to failure, and farther away from the audience’s love. Even a clown must clown with sincerity and spontaneity that makes him appear real. Our example is Charlie Chaplin, who used clown tools in all his roles that people know, and the audience interacted with the humanitarian issues that he raised and sympathized with them. .
We all know that what is presented on the screen are nothing but events that have no basis, so we think, but why do we follow them if we believe that? We follow it because we are in fact the heroes of this drama: its author, director, actor, and the rest of its makers speak in our name, act for us, and represent us at the same time, and when we follow them we are watching ourselves, or details from it.
This collection presents a group of stories that attempt to approach the worlds of drama in one way or another, in writing and acting.
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