Since the Islamic Revolution in Iran, capital punishment is carried out according to Islamic law, which gives the family of the victim ownership of the offender's life. Day Break - based on... See full summary »
On the last Wednesday before the spring solstice ushers in the Persian New Year, people set off fireworks following an ancient Zoroastrian tradition. Rouhi, spending her first day at a new job, finds herself in the midst of a different kind of fireworks -- a domestic dispute between her new boss and his wife.
Spanning 18 years in an Iranian women's prison, this follows two women: the new prison warden, a tough as nails devout Muslim who has served in the army on the Iraqi front, and a young ... See full summary »
The reclusive Patricia Douglas comes out of hiding to discuss the 1937 MGM scandal, in which the powerful film studio tricked her and over 100 other underage girls into attending a stag party, where she was raped.
A film comprised of three interconnected vignettes that depict women at three stages of life in Iran. The first part centers on a young girl on her ninth birthday who is told that she can ... See full summary »
Nader Homayoun's documentary which I have seen on the European art channel ARTE presents a historical view of a cinematographic school that has amazed in the last few years the movie fans all over the globe presented on the background of the last half century of history of Iran. Although some of the major and better known films of the Iranian cinema are missing from this review the historical value and the interest of the documentary is kept high by this parallelism of cinema and history. It is really surprising and probably novelty for the majority of film fans to learn about the school of cinema that developed in Iran in the late 60s and the 70s - a school mature and diverse in the means of expression, socially engaged and adding its voice to the protests that led to the fall of the Shah. The tone and style changes with the Islamic revolution, which changed the rules of the artistic expression, cenzorship and social engagement of the artists as many revolutions do. The role of the Iranian cinema in the war between Iran and Iraq is also presented in details. The documentary part includes well selected excepts and interviews with some of the important directors of the period. Although film lovers who would be interested more in the aesthetics risk to be disappointed, the documentary value exceeds the expectations and makes the film worth seeing.
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