With Wounds of Waziristan, Tahir tries to foreground the people who materially experience loss and absence — not as abstract body counts, but as the absence of a brother or a niece or a wife. “Haunting is the insistence by the dead that they be acknowledged, that the social conditions that brought about their demise be made known and rectified. So, haunting is about unfinished business. And, it’s thoroughly social and political. This film focuses on the people who live in Waziristan and who live among loss. Material conditions, whether it’s the rubble after a drone attack or the grave of one’s kin, persist in reminding the living of what they have lost,” she explains.

Full piece here.