Inside the Making of ‘Kabul’: A Thrilling Look at the Taliban’s Chaotic Takeover

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The takeover of Afghanistan by the Taliban in 2021 forms a dramatic setting for the French international thriller series, “Kabul,” marking one of its most ambitious productions to date.

Today, the six-episode political series titled “Geopolitical Show” is making its debut at Series Mania in Lille. This captivating series was inspired by the personal experiences of producer Fabienne Servan-Schreiber, who actively participated in the chaotic evacuation operations.

On a family trip to Greece with her son and producing partner Matthias Weber, Servan-Schreiber learned about the crisis in Kabul and actively participated in initiatives aimed at rescuing several Afghan families consisting of artists and medical professionals.

On the eve of Kabul’s presentation at Series Mania, I found myself in conversation with EbMaster and Weber. Servan-Schreiber shared that it was Jean-Michel Frodon, a film historian and journalist, who initially reached out to him. Frodon was seeking assistance to purchase plane tickets for a group of talented Afghan artists.

Servan-Schreiber explains that he emailed everyone in his contact list, receiving positive feedback from individuals such as Jane Birkin and others who questioned, ‘What can we do?’ This was because many people were deeply concerned about the circumstances at hand,” translating to a more conversational tone the original statement. The production of the series was carried out with Charlotte Ortiz at Cinétévé, and Matthias Weber and Thibault Gast at 24 25 Films, which is a subsidiary of Mediawan company.

On August 13th, private planes ceased operation. From then on, I found myself communicating with French officials and subsequently exchanging numerous emails with the French, British, American, and Qatari counterparts who had connections with the Taliban. This was all in an effort to facilitate the evacuation of not just artists but also medical professionals as well.” She went on to explain that what initially seemed like a fundraising mission to purchase plane tickets became progressively intricate.

At the culmination of this stormy summer, Weber – deeply moved by the intensity of his mother’s commitment to their cause – conceived an idea for creating a chronicle detailing the happenings in Kabul.

He expresses his strong admiration for Fabienne’s dynamic strategy during her conversations with top government officials, noting that they appeared taken aback and unable to respond effectively to the situation she presented.

Upon my return to the lively streets of Paris, I found myself immersed in a project that swiftly took form. The producers brought on board Olivier Demangel, an acclaimed screenwriter whose works span from the gripping “November,” set amidst the 2015 Paris terror attacks, to the powerful Omar Sy war drama “Father and Soldier,” the Netflix French biopic series “Tapie,” and the interactive award-winner “Wei or Die” under Servan-Schreiber’s Cinetévé banner. I was thrilled to be a part of this talented team!

Olivier and Thomas Finkelkraut, often referred to as ‘Baron Noir’ and ‘Tapie’, have consistently shown their knack for weaving reality into something captivating,” remarks Weber. “They recognized that ‘Kabul’ was a challenging endeavor, yet they believed there would be more projects based on events in Afghanistan. However, Fabienne’s expertise lent them the credibility to narrate this story from a European standpoint.” The series was co-written by Demangel, Finkelkraut, and Joey Lavy (of ‘The Shift’).

To successfully launch the series “Kabul”, it was essential for the producers to secure the support of France Television, a French public broadcaster. Manuel Alduy, who oversees film and international development at the broadcaster, showed great interest in the project and brought The Alliance on board, according to Weber. Eventually, France Televisions and ZDF co-produced the series along with Bnnvara from the Netherlands, VRT from Belgium, SVT from Sweden, DR from Denmark, YLE from Finland, RUV from Iceland, and NRK from Norway. This collaboration was also joined by Rai from Italy, as well as Panache Productions, Anga Productions, and La Compagnie Cinématographique, making for an extensive list of co-producers.

The show, which is a six-part series, was made with approximately $20 million. For a production not backed by a streaming service in Europe, this budget is considered quite substantial. Consequently, the series titled “Kabul,” filmed in English and featuring an international cast including Jonathan Zaccaï (“Le bureau des legendes”), Darina Al Joundi (“The New Look”), Shervin Alenabi (“Tehran”), Eric Dane (“Euphoria”), Thibault Evrard (“The Night of the 12th”), Vassilis Kukalawi (“Kandahar”), Olivier Rabourdin (“Taken”), Jeanne Goursaud (“Pax Massilia”), Gianmarco Saurino (“L’estate piu Calda”), Ludwig Blochberger (“The Lives of Others”) and Valentina Cervi (“Medici: Masters of Florence”), was produced.

We felt it was important to portray and re-create these events as accurately as we could from a pan-European viewpoint instead of focusing on a specific country like France, Italy, or Germany,” explains Weber. “To achieve this global perspective, we combined resources from various collaborators.

The cityscape depicted in the film “Kabul” was skillfully brought to life by a pair of talented female directors from Poland: Kasia Adamik, who previously directed “No Escape,” and Olga Chajdas, known for her work on “Imago.

Weber emphasizes the importance of incorporating a feminine perspective when portraying violence, as he believes it’s crucial for women to be involved in creating this action-packed thriller. This is because women were among the major victims during the Taliban’s conquest in Afghanistan.

In my observation, the future prospects for women in that place appear grim. They’re confined and deprived of the freedom to express themselves. Regrettably, there’s a high incidence of suicides, a tragic consequence of their circumstances. Yet, those fortunate enough to break free can look forward to a new life elsewhere.

One central goal in the storytelling, as outlined by Servan-Schreiber, was to focus on the human consequences of the events, primarily through the perspective of a family from Afghanistan struggling to flee the turmoil. This family serves as the core around which other characters from various nationalities are introduced, resulting in a multi-character series.

In addition to its creative team and numerous collaborators, “Kabul” was propelled forward by an accomplished head of production, Sandrine Paquot. With a wealth of experience in producing international series and films with substantial budgets, she has worked on projects such as Thomas Bidegain’s “Soudain Seuls,” filmed in Iceland, and Thomas Kruithof’s “The Eavesdropper” (produced by 2425 Films).

Paquot brainstormed various locations for filming the series, but eventually decided on Greece as the ideal spot since that’s where everything began. He considered options in India, Morocco, Spain, Jordan, and the UAE, too.

In the meantime, Demangel selected the primary shooting site for “Kabul”, which turned out to be the abandoned Athens airport, where he had previously filmed “November.

According to Weber, ‘Greece’ boasts numerous advantages. The show ‘Tehran’ was shot there, and the scenery resembles parts of Afghanistan. It offers a rich variety of locations, particularly airports and military sites, as Greece collaborated with the military to recreate ‘Kabul’. Additionally, the population diversity in Greece allowed for the casting of extras who could convincingly portray Persian or Afghan characters.

Servan-Schreiber highlights that Greece boasts a thriving film industry, boasting talented crews and professionals. Notably, Greek production designer Kostas Pappas spent his Christmas holidays in war-torn Kabul, under Taliban occupation, to align with the film sets he was working on, according to Weber. “It’s quite a dedication!” he adds.

Reflecting on the process of producing “Kabul,” Adamik noted, “Beyond the apparent hurdles of establishing an authentic Kabul within Athens, managing the heat and numerous scenes featuring a large cast, was the task of weaving together various plotlines in a manner that enhanced both the narrative structure and emotional impact.” Chajdas added, “This effort extended as much during filming as it did in post-production. The duty to create an authentic and truthful world was paramount.

International media rights for “Kabul” are held by Mediawan Rights, in partnership with Entourages Ventures. Valérie Vleeschhouwer, managing director of Mediawan Rights, stated that the company, which is currently working on ambitious projects like “Zorro” and “The Count of Monte Cristo,” jumped aboard “Kabul” at an early stage. The company aims to back high-end international productions and collaborate with top talents to present the best intellectual properties (IPs) to a global audience.

24 25 Films and Cinétévé present a compelling tale about ‘Kabul’, based on a contemporary historical event that continues to resonate globally. This significant incident, leaving an indelible mark on the world, is brought to vivid life through storytelling centered around characters – Afghan families, diplomats, soldiers, and civilians. This approach lends a deep emotional resonance to the narrative, as expressed by Vleeschhouwer.

Mediawan is additionally responsible for the production of a film titled “13 Days, 13 Nights,” which is inspired by the 2021 events in Kabul. This thriller, directed by Martin Bourboulon (known for “The Count of Monte Cristo”), is based on a book written by commander Mohamed Bida. He played a crucial role in organizing the evacuation of the French Embassy and the safe exit of the local population from the newly established extremist regime.

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2025-03-23 16:17