Iraqi director Mohamed Al Daradji returns with one of his most ambitious works to date, “Irkalla: Dreams of Gilgamesh”, a contemporary myth-driven drama that merges the legend of Gilgamesh with the social fabric of Baghdad in 2019. Joined by young actor Hussein Raad Zuwayr, actress Youssef Husham Al Thahabi, actor Ameer Jabarah, Italian SFX specialist Filippo Polesel, and production designer Ali, the director lays out a vision that blends epic symbolism with lived urban reality.
For Al Daradji, the point of departure was always Gilgamesh. He explains that the world’s earliest written epic has shaped every narrative structure that followed, from theatre to novels to cinema. By placing Gilgamesh in modern Baghdad, he aims to create a dialogue between ancient archetypes and contemporary wounds. Gilgamesh, missing Enkidu, becomes a mirror to Moody and Chum-chum, characters longing for the families and lives they lost. In this version, Gilgamesh does not speak, allowing the city itself — the river, the noise, the scars — to speak in his place. “Baghdad is one thousand nights in one night,” Al Daradji says, describing why he built the entire story around the Tigris. For him, the river is a living archive, carrying the stories of millions across centuries.
Young actor Hussein Raad Zuwayr, who plays Moody, recounts the intense physical and emotional demands of his role. A gentle, soft-spoken teenager in real life, he had to transform into a character marked by violence, hardship, and survival instincts. Al Daradji pushed him into uncharted territory — beginning with shaving his head, a week-long emotional shock for the actor. To embody Moody authentically, Hussein even spent several days begging on the streets of Baghdad, returning each time with more money as he learned how Moody would move, speak, and negotiate for survival. He describes performing scenes of violence as difficult but necessary for delivering the truth of the character.
Actress Youssef Husham Al Thahabi portrays Maryam, a woman burdened with responsibility yet emotionally detached from the children she cares for. Maryam feeds them, shelters them, disciplines them, and reminds them she is not their mother. Al Thahabi says her greatest challenge was accessing the character’s buried humanity. During one emotional shoot, she even broke her leg but continued filming, refusing to halt production. Al Daradji recalls instantly recognizing her as Maryam the moment he saw her on camera, later admiring her dedication as she learned to drive a bus specifically for the role — causing multiple minor on-set incidents, which he recounts affectionately.
Actor Ameer Jabarah, appearing later in the conversation, describes the physical and emotional toll of a fight scene where Maryam points a gun at him. His admiration for the creative chaos on Al Daradji’s sets is evident. Having worked with the director since he was seventeen, he notes that every project with him requires risk, agility, and deep instinct.
From a technical standpoint, two key creative forces help shape the world of “Irkalla”: Italian SFX creator Filippo Polesel and production designer Ali, who also designed “Hijra”. Polesel discusses the extensive work behind designing the Lamassu, which originated from historical consultation with the Baghdad Museum in order to achieve accuracy rather than fantasy. Beyond visual effects, he describes the film as a complex fusion of footage shot across years and locations, requiring technical precision and artistic care to unite into a coherent whole.
Ali, the production designer, breaks down the creation of the story’s central setting: a real Mosul bus refurbished to reflect 2019, complete with bullet scars from past violence. The team spent six months modifying the vehicle and over 110 days in total with it, including shooting. With an art team of only seven people, they built multiple versions of the bus interior, transforming it into both a school and a living space. For Ali, the bus became a character in itself — a vessel of history, tragedy, and resilience.
When asked about their favorite scenes, the actors highlight emotionally charged moments: Maryam rediscovering her compassion when Chum-chum becomes ill, and the bridge sequence where the cast sings freely under Al Daradji’s direction. Each recalls these not only as performances but as lived moments of connection.
As for the future, the team remains active. Hussein is set to appear in “The Window” and several new series, while Polesel’s Italian-based VFX company is expanding internationally and preparing its first horror film production. Ali is developing new collaborations in Baghdad, building on the partnership fostered through “Irkalla”.
With “Irkalla”, Mohamed Al Daradji and his collaborators present a project that merges mythology with contemporary reality, where Baghdad’s river becomes the spine of a story about memory, loss, and the stubborn endurance of humanity. The result is a work both epic in symbolism and grounded in lived experience — a testament to Iraqi cinema’s resilience and imagination.