Amir is a fictional character created by Khaled Hosseini. His personal journey of guilt and redemption drives the narrative, which unfolds against real historical events.

Hassan is a fictional character representing the Hazara ethnic minority and their historical persecution in Afghanistan. His loyalty and suffering are central to the novel's themes.

Baba is a fictional character representing the privileged Pashtun elite of pre-Soviet Kabul and the complexities of Afghan masculinity and honor. His hidden secrets drive parts of the plot.

Ali is a fictional character, representing the Hazara servant class loyal to Pashtun employers.

Assef is a fictional antagonist embodying ethnic prejudice (specifically Pashtun supremacy) and the brutality associated first with bullying and later with the Taliban regime.

A fictional character serving as a mentor figure to Amir and the link between his past in Afghanistan and his present in America.

The film accurately portrays the vibrant tradition of kite fighting (Gudiparan Bazi) and kite running as a significant cultural practice in Afghanistan, especially during winter, before being banned by the Taliban.

Captures the atmosphere of relative peace and modernity in Kabul during the final years of the monarchy, contrasting sharply with later periods.

Accurately reflects the historical and ongoing discrimination and persecution faced by the Shia Hazara minority at the hands of dominant Sunni Pashtun elements in Afghan society. Some critics argue it stereotypes Pashtuns negatively.

The film accurately includes the historical event of the 1973 coup led by Daoud Khan, which overthrew King Zahir Shah and marked the beginning of decades of instability.

The depiction of the Soviet invasion and its disruptive impact, leading to widespread conflict and displacement (like Amir and Baba fleeing), reflects historical reality.

Accurately portrays the mass exodus of Afghan refugees to neighboring countries like Pakistan (Peshawar) and eventual resettlement in Western countries like the United States during the Soviet war and subsequent conflicts.

Effectively depicts the oppressive atmosphere under Taliban rule, including strict enforcement of religious law, banning of activities like kite flying, public punishments, and specific dangers faced by Hazaras.

The scene depicting a public execution (stoning) at Ghazi Stadium in Kabul accurately reflects the Taliban's documented use of the stadium for such events during their rule (1996-2001).

While Assef is fictional, his character represents documented instances of abuse, exploitation of children, and impunity enjoyed by powerful figures within the Taliban regime.

Amir's perilous journey back into Taliban-controlled Afghanistan accurately reflects the dangers faced by individuals, especially those associated with the West or opposing the regime, during that period.

The specific narrative involving Amir, Hassan, the assault, and the later rescue of Sohrab is the fictional core of the story created by Hosseini, not based on specific real individuals or events.

Orphanages existed, often under harsh conditions, reflecting the large number of children affected by decades of war.

Though filmed primarily in Kashgar, China, the production design effectively recreated the look and atmosphere of a relatively peaceful, more cosmopolitan Kabul before the decades of war began.

Represents the crowded, difficult conditions faced by Afghan refugees in Pakistani border cities during the Soviet-Afghan War.

Effectively contrasts with the earlier depiction, showing a city scarred by war, under strict Taliban control, with visible signs of oppression and destruction (again, filmed primarily in Kashgar).

Accurately portrays the setting for the Afghan immigrant community in California, showcasing their adaptation to American life while maintaining cultural traditions.

Captures the visual excitement and cultural significance of these events as described in the novel, taking place in open areas or rooftops within Kabul.

The depiction of the stadium being used for public punishments/executions under the Taliban aligns with historical accounts of its use during the 1996-2001 period.

Illustrates the socio-economic contrasts through the settings of Baba's spacious mansion versus Ali and Hassan's modest mud hut on the same property.

Generally reflects the changes in clothing styles from the more Westernized fashions of 1970s Kabul to the traditional attire enforced under the Taliban, as well as styles in Pakistan and the US diaspora.

The extensive use of Dari (Afghan Persian) throughout the film adds significantly to the authenticity of the setting and characters.