With the help of government-issued pamphlets, an elderly British couple build a shelter and prepare for an impending nuclear attack, unaware that times and the nature of war have changed ... See full summary »
In 1970s Iran, Marjane 'Marji' Statrapi watches events through her young eyes and her idealistic family of a long dream being fulfilled of the hated Shah's defeat in the Iranian Revolution of 1979. However as Marji grows up, she witnesses first hand how the new Iran, now ruled by Islamic fundamentalists, has become a repressive tyranny on its own. With Marji dangerously refusing to remain silent at this injustice, her parents send her abroad to Vienna to study for a better life. However, this change proves an equally difficult trial with the young woman finding herself in a different culture loaded with abrasive characters and profound disappointments that deeply trouble her. Even when she returns home, Marji finds that both she and homeland have changed too much and the young woman and her loving family must decide where she truly belongs. Written by
Kenneth Chisholm (email@example.com)
I was somehow hesitant before watching this as many have hailed the movie as an achievement both technically and artistically. Considering it tackles issues related to the Middle East I thought this will be yet another politically correct show-off that leaves you dead-cold. Well it's nothing like this. Though the story simplifies things quite a lot, it has a good reason for doing so: everything is seen from the point of view of the main character who brings forth her memories as a little girl in Iran, as a teenager in exile and as a married woman back in Iran. The story is always interesting, heart-felt, funny, sarcastic at times, nostalgic, cruel and absurd at some points but very very convincing.
The movie's best asset is it doesn't preach, it leaves everything to the viewer's judgment, and this is something to be appreciated because we all know that cartoons can be very effective propaganda devices. You can use animation for subversive purposes in a may number of ways. Technically, the movie-makers decided for stylishness rather than anything else. It's very interesting to compare Ratatouille's "realism" in animation and its shallow plot and the intricate and subtle plot of Persepolis and its abstract animation. I think animation was never about a big budget but about taste and artistic reason for choosing a specific technique. Displaying such a consistent style throughout, Persepolis manages never to feel too much in spite of its length (Ratatouille felt a bit too much after half an hour, at least to me and most of the people in the audience). Mnay reasons account for this: good story, excellent acting (the characters are all memorable), excellent pacing etc.
The best thing I got from watching this, besides the 95 minutes of great fun, is that there is a way of separating between good and evil without hurting anybody and you can come to terms with your past without feeling a sense of despair, no matter how bad that past was.
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