#maryam keshavarz

[swanasource]

Some LGBT+ Films By SWANA Filmmakers

Circumstance (2011). Dir. Maryam Keshavarz Laurence Anyways (2012). Dir. Xavier Dolan Appropriate Behaviour (2014). Dir. Desiree Akhavan In Between (2016). Dir. Maysaloun Hamoud No Hard Feelings (2020). Dir. Faraz Shariat Breaking Fast (2021). Dir. Mike Mosallam Burning Days (2022). Dir. Emin Alper The Blue Caftan (2022). Dir. Maryam Touzani El Houb (2022). Dir. Shariff Nasr The Persian Version (2023). Dir. Maryam Keshavarz

#circumstance #maryam keshavarz #appropriate behavior #lgbt #desiree akhavan #xavier dolan #Laurence Anyways #maysaloun hamoud #in between #palestinian #no hard feelings #faraz shariat #iranian #breaking fast #mike mosallam #lebanese #burning days #emin alper #turkish #the blue caftan #maryam touzani #el houb #shariff nasr #the persian version #film #moroccan #egyptian

[jerryhabibisource]

JERRY HABIBI in The Persian Version (2023)

Sony Pictures Classics

#jerry habibi #swanasource #the persian version #persian #sony pictures classics #mena #swana #maryam keshavarz #jawline #big nose #cute men #jock #masculine #middle east #vintage men #layla mohammadi

[moviemosaics]

The Persian Version

directed by Maryam Keshavarz, 2023

#The Persian Version #Maryam Keshavarz #movie mosaics #Layla Mohammadi #Niousha Noor #Chiara Stella #Kamand Shafieisabet #Shervin Alenabi #Bijan Daneshmand #Tom Byrne #Bella Warda

[celluloidrainbow]

شرایط | CIRCUMSTANCE (2011) dir. Maryam Keshavarz Atafeh Hakimi is the teenage daughter of a wealthy Iranian family in Tehran. She and her best friend, the orphaned Shireen attend illicit parties and experiment with sex, drinking, and drugs. Atafeh's brother Mehran is a recovering drug addict who becomes increasingly religious and obsessed with Shireen, coinciding with the collapse of his once-strong relationship with his sister. The Hakimi parents, Firouz and Azar, reminisce on their youth and what has become and what will become of their family. (link in title)

#lgbt cinema #lesbian cinema #circumstance #circumstance 2011 #iranian cinema #lgbt #lesbian #iran #lgbt movie #lesbian movies #iranian movies #lgbt film #lesbian film #iranian film #lgbt media #lesbian media #queer cinema #middle eastern cinema #asian cinema #maryam keshavarz #nikohl boosheri #sarah kazemy #2010s #2010s cinema #2010s movies #2010s films #2011

[robynochs]

I'm looking forward to seeing "The Persian Version," a film by Iranian-American filmmaker Maryam Keshavarz, who identifies as #bisexual.

#the persian version #maryam keshavarz

[whileiamdying]

Iranian Filmmakers Face Fight or Flight Amid Political Turmoil

By Nick Vivarelli

Credit: Les Films d'Ici/Berlinale

The wave of protests sparked across Iran by the death of Mahsa Amini by Iranian morality police in September came amid a banner year for Iranian cinema. 

But as 2023 kicks off, more than 500 people who have protested her death and called for justice have been killed while prominent members of the Iranian film industry were either arrested, put on trial or banned from making movies. The result being that the country’s cinematic community has largely ground to a halt. 

Which raises the question: unless something changes, how many films actually shot in Iran will be surfacing on the international festival circuit going forward?  

In 2022, Iran-based directors landed slots in all major international film festivals and won major awards. Revered auteur Jafar Panahi took the Venice Special Jury Prize for “No Bears” and Houman Seyyedi’s tragicomedy “World War III,” which was Iran’s candidate for the international Oscar, scooped two statuettes on the Lido. 

But 2023 is kicking off with only films by Iranian diaspora directors launching on the fest circuit. Case in point: native New Yorker Maryam Keshavarz’s “The Persian Version,” which bowed at Sundance. 

And the widening divide between Iran’s expat directors and Iranian filmmakers living in the country is stark at the Berlinale. 

Berlin’s Panorama section, which is titled “Films as Tools of Resistance,” is opening with Paris-based Sepideh Farsi’s feature “The Siren” which provides a timely take on the Iran-Iraq war. Incidentally, the section also features a doc by Indian director Sreemoyee Singh titled “And, Towards Happy Alleys,” which is about Panahi, who was recently released from Tehran’s Evin penitentiary after spending seven months behind bars on charges of “anti-government propaganda.”   

But the only film in this year’s Berlin selection that is by an Iran-based director is Negin Ahmadi’s doc “Dream’s Gate” which depicts an all-female Kurdish militia in Northern Syria.  

Berlin’s artistic director Carlo Chatrian says this year he actually received more submissions from Iran than ever before. But the fest’s selection committee was leery of Iranian films, many of which came from companies affiliated with the government. Why? “Because for them it’s a statement saying: ‘OK, this is not true what people abroad are saying about us,’” he said.  

Chatrian added that “at times films [from Iran] that from the outside look independent are not fully independent,” so they can still be seen as a form of government propaganda. 

In solidarity with the protests sparked by Amini’s death, the Berlinale has banned Iranian government film industry entities such as the Farabi Cinema Foundation, Iran’s national film promotion outfit which has been attending Berlin’s European Film Market with a stand for years.  

And on Feb. 18 there will be an event on the Berlinale Palast red carpet to shine a spotlight on the fest’s position against Iran’s repressive regime.  

Berlin’s executive director Mariëtte Rissenbeek pointed out that it’s bound to be more difficult these days for filmmakers in Iran, most of whom are anti-government, to make films. “They are for freedom of expression, which is exactly what the Iranian state is trying to fight right now,” she said. 

That, of course, is indeed the case.  

“Iranian cinema is now under attack in Iran,” noted “World War III” helmer Seyyedi, in an email interview from Tehran. “As a middle-aged man who is deeply involved with the present problems, I have no idea if I will really be able to start making another movie in future. We will have to wait and see what happens.” 

According to Mohammad Attebbai, head of Tehran-based sales company Iranian Independents, at the moment “Iran’s nearly 50% inflation and its severe censorship codes dissuade anyone from investing in a movie.” 

Attebbai added, “There are lots of filmmakers who, like many others in the country, believe it is impossible to keep living in Iran and are trying to immigrate.  

“They simply cannot tolerate the situation any longer, with censorship getting much worse and film production slowing down dramatically,” he said.  

Most artists at present are banned from travel outside Iran.   

Significantly, two-time Oscar winner Asghar Farhadi, Iran’s best-known director, is currently working on his new film in Los Angeles and Europe. Farhadi was at the Zurich Film Festival when protests following the death of Amini erupted. He voiced support for the protests and has returned to Iran since. 

As an Iranian diaspora director, Paris-based Farsi said she now feels a greater responsibility “to carry on the flag of making films that are relevant and have to do with Iran, though maybe not directly.”  

“I don’t know how ‘The Siren’ will travel,” she pointed out. “But for sure I would really love people in Iran to see it. 

“The end of the film has hope, and I really would like them to feel it as glow of sun for the near future of Iran. Because I’m really hoping that we will reach a victory soon.” 

#Iran #Cinema #Iranian Cinema #Asghar Farhadi #Berlinale #The Siren #Mariëtte Rissenbeek #Houman Seyyedi #Mahsa Amini #Jafar Panahi #Maryam Keshavarz #Sepideh Farsi #Mohammad Attebbai #Variety

[oldfilmsflicker]

new-to-me #40 - The Persian Version

#2023 in Films #The Persian Version #Maryam Keshavarz #Sundance #52 Films By Women #Directed By Women

[watchingalotofmovies]

The Persian Version

The Persian Version    [trailer]

When a large Iranian-American family gathers, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past.

With the various story strands and timeline changes it's at times quite convoluted. And not all strands are coming together. You also have to be prepared for tonal shifts between comedy and the more serious scenes.

At its core it's the familiar story about a mother who disapproves of her rebellious daughter. But it's all good at the end.

What makes it still an entertaining watch is the humour, the high energy and the unusual circumstances and setting with the Iranian background.

For long stretches, the mother, portrayed by Niousha Noor, steals the show.

#The Persian Version #Maryam Keshavarz #Layla Mohammadi #Niousha Noor #Mia Foo #Tom Byrne #Bijan Daneshmand #Bella Warda #Iran #recommended

[thecurvycritic]

The Persian Version Is a Generational Story Bathed in Love and Light

#ThePersianVersion was an unexpectedly delight of humor, love and light - I can't say enough about it https://wp.me/p2v8yf-5O7 #sundance2023

  Every family has secrets.  The longer they are kept, the longer they fester.  Eventually they grow like a fungus where one can no longer distinguish the truth from the reality. In the midst of the madness you are thrown a curve balls of facts.  Do you catch it, embrace it or thrown it back? Coming from two countries at odds with each other, Iranian-American Leila (Layla Mohammadi) strives to…

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#iranian #iranian american #layla mohammadi #lgbtq stories #Maryam Keshavarz #sundance #sundance 2023 #Sundance Film Festival #the oersian version

[fictionz]

New Fiction 2023 - November

A Million Miles Away dir. Alejandra Marquez Abella (2023)

We have several inspirational true stories this month, but this one is special because it was a rare movie recommendation from my dad, who famously does not particularly care about art or stories. It's immediately obvious why it clicked with him, an immigrant who had to make a lot of tough choices in life and a confirmed family guy.

Anatomy of a Fall dir. Justine Triet (2023)

Sweet, sweet European ambiguity. None of it's in the realm of the fantastic. It's just something that could really nag at you for the rest of your life.

Killers of the Flower Moon dir. Martin Scorsese (2023)

Over three hours and it does a good job of keeping things moving along. It's also Goodfellas in Oklahoma, which is good and fine.

Five Nights at Freddy's dir. Emma Tammi (2023)

I'm annoyed that I had the wrong director noted down, because this absolutely should've been watched in October. It was only lost in the shuffle of balancing the diversity of the directors. But, you know, it's alright. Matthew Lillard is the key stone to the whole thing.

The Marsh King's Daughter dir. Neil Burger (2023)

Could've used more scenes of a woman hunting down her shitty ol' dad. I was just waiting for that the whole time.

It's a Wonderful Knife dir. Tyler MacIntyre (2023)

How could I skip this? A Christmas slasher movie featuring a dope design for the killer, and it was in theaters. It has the vibe of a Netflix holiday special and that's perfect for this.

The Marvels dir. Nia DaCosta (2023)

I hope Iman Vellani gets good gigs outta this. She's the best part by far and I'm glad I watched the show before getting into the movie.

Freelance dir. Pierre Morel (2023)

Look, I'll just admit that I have a crush on Alison Brie and that's what got me into the theater here. And the movie knew that, too.

The Hunger Games: The Ballad of Songbirds & Snakes dir. Francis Lawrence (2023)

This damn movie got me by the brain banana. I'm still tempted to read the books. I really just need to know why the story doesn't go full Talented Mr. Ripley with the male leads. It's right there.

Next Goal Wins dir. Taika Waititi (2023)

I know not every Taika Waititi can be his sort of sense of humor, but he's at his best when he's in that zone. This one's a perfectly cromulent feel-good comedy, and Fassbender's whatever but I like the actress playing Jaiyah.

The Holdovers dir. Alexander Payne (2023)

Loved it, stamp of approval. Funny when it has to be, serious in other moments. Just kind of a glimpse into a small group of people in the vein of those good short stories that hang around in the back of the mind.

Priscilla dir. Sofia Coppola (2023)

Real slow burn of a movie, but I appreciate that we're with Priscilla all the way through.

Thanksgiving dir. Eli Roth (2023)

I guess we couldn't expect the Grindhouse trailer to be made into a movie, but watching The Holdovers put me in that 70s mindset and wishing they'd gone for it. What we did get is standard slasher fare.

Napoleon dir. Ridley Scott (2023)

Not really blowing anyone away with a tepid biopic. I'm just surprised to learn that Napoleon's ass got away with so much shit before being locked away in a tropical paradise.

The Persian Version dir. Maryam Keshavarz (2023)

It meanders a bit, especially in a long flashback midway through, but that pays off in spades.

Wish dir. Chris Buck & Fawn Veerasunthorn (2023)

Kind of a story-free musical, really. At least the nods to Disneyana weren't bopping me over the head.

#new fiction #2023 #wish #the persian version #napoleon #thanksgiving #priscilla #the holdovers #next goal wins #the hungers games #freelance #the marvels #it's a wonderful knife #the marsh king's daughter #five nights at freddy's #anatomy of a fall #a million miles away

[swanasource]

Coming from two countries at odds with each other, Iranian-American Leila (Layla Mohammadi) strives to find balance and embrace her opposing cultures, while boldly challenging the labels society is so quick to project upon her. When her family reunites in New York City for her father’s heart transplant, Leila navigates her relationships from arm's length in an effort to keep her “real” life separate from her family life. However, when her secret is unceremoniously revealed, so are the distinct parallels between her life and that of her mother, Shireen (Niousha Noor).

The Persian Version (2023). Dir. Maryam Keshavarz

#Maryam Keshavarz #the persian version #iran #iranian #persian #film #Youtube

[deadlinecom]

[lucianarodriguezdiaz]

A partir del 20 hasta el 31 de marzo de 2024 se realizará el Festival Cinematográfico Internacional del Uruguay, organizado por Cinemateca Uruguaya. La apertura del festival será el 20 de marzo en la sala Fabini del Auditorio Adela Reta del Sodre, a las 19.30 hs. será con el último film del director argentino Martín Rejtman. Y la noche de clausura, será el sábado 30 de marzo a las 19.30hs en la Sala Zitarrosa con el film La versión persa (The Persian Version) de la directora estadounidense de origen iraní Maryam Keshavarz. Las películas se exhibirán en las tres salas de Cinemateca (Bartolomé Mitre 1236). En la Sala B del Auditorio Nelly Goitiño, el Complejo Cultural Alfabeta, el Complejo Life 21 y la Sala Zitarrosa. Además, habrá exhibiciones en el departamento de Canelones donde se presentarán ocho películas de las distintas secciones de esta edición. Las salas disponibles para las proyecciones serán: el Centro Cultural Salinas, Auditorio Batalla de Las Piedras, Los Cerrillos, Atlántida, San Ramón y Centro Cultural de La Costa (Ciudad de la Costa) con entrada libre. Otra manera de acercarse a las películas seleccionadas en esta edición es a través de la Plataforma +Cinemateca (streaming). La sala virtual extiende la duración del festival, ya que tendrá las películas disponibles entre el 27 de marzo y el 15 de abril. De esta forma el Festival estará llegando a todos los rincones del país. Spot 42º Festival Cinematográfico Internacional del Uruguay La programación está compuesta por cerca de 200 películas en las que están representados 60 países. Se estructura en ocho secciones competitivas, una sección panorámica internacional, una sección temática que reflexiona sobre el fenómeno cinematográfico (Ojo con el cine), una sección que acerca el cine y la música (Ensayo de Orquesta), un amplio Foco en el cine del país invitado, España: “Abrir los ojos: una mirada al cine español de hoy”, que se completa además con una muestra de algunos films producidos en el marco de la ECAM (Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid). Así como una importante selección de films realizados en 2023 por los grandes maestros del cine contemporáneo en Trayectorias y varias exhibiciones especiales. El festival también cuenta con actividades paralelas a las exhibiciones. Taller de curaduría fílmica a cargo de Ana Gontad Fontán. El taller, programado para el viernes 22 de marzo de 14 a 16 horas, explorará los desafíos y problemas inherentes a la construcción de una programación cinematográfica relevante, así como la importancia de equilibrar la relevancia temática con otros aspectos fundamentales del arte cinematográfico. Cine salvaje en el prado más íntimo de tu pueblo, a cargo de Álvaro Gago, director de cine español. La actividad tendrá lugar el 26 y 27 de marzo en el CCE, entre las 14 y las 17 horas. El taller presentará una introducción a técnicas relacionadas con la ideación, la escritura de guión, el casting, el lenguaje formal y la dirección de actores. La actividad busca crear un espacio donde compartir y pensar el cine en grupo. Esta actividad es organizada en conjunto con el Centro Cultural de España en Montevideo.  Los cupos para los talleres son limitados y las inscripciones se reciben a través de un formulario disponible en la web de Cinemateca. Una de las novedades que Cinemateca tiene preparada es que a partir del 21 de marzo estará habilitado el estacionamiento en el subsuelo de la Cinemateca para que los especadores puedan dejar sus autos y bicicletas. El parking será gratuito durante el Festival a partir de las 16 hs. luego comenzará a operar tarifado entre las 7am y la medianoche, a partir del mes de abril. Este evento cuenta con el apoyo del Ministerio de Educación y Cultura, la ACAU, la Intendencia de Montevideo y la Intendencia de Canelones, así como también de las embajadas de Austria, Brasil, Canadá, Chile, Ecuador, España, Finlandia, Francia, Italia, Portugal, Suiza y Noruega; ademá...

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#Cine #documental #estreno #Estrenos #festival #Festival de cine #Noticias #Novedades #Películas #Streaming

[afabstract]

The Persian Version Review - Two Different Movies in One

Leila is a rebellious Iranian-American who lives life on her own terms, but she also hopes her strict mother Shireen could be more accepting of her ways in family-comedy "The Persian Version"

⭐⭐⭐ Rating: 3 out of 5. Sneha Jaiswal (Twitter | Instagram) “Of course it is banned in Iran!” my friend exclaimed after looking up the 2023 movie “The Persian Version” online. The story follows the fraught relation of an Iranian-American filmmaker with her fierce, strict mother. Directed and written by Maryam Keshavarz, “The Persian Version” stars Layla Mohammadi as the protagonist, Leila,…

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#Entertainment #Iranian Americans #Iranian stories #Layla Mohammadi #lgbtq #Movie review #Niousha Noor #Reviews #The Persian Version 2023 movie review #the persian version movie review #The Persian Version Review

[tctmp]

The Persian Version: Directed by Maryam Keshavarz. With Layla Mohammadi, Niousha Noor, Kamand Shafieisabet, Bijan Daneshmand. When a large Iranian-American family gathers, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past, and to discover they are more alike than they know.

#the persian version

[thenerdsofcolor]

The Middle Geeks Episode 61: ‘The Persian Version’ Review on the Eve of Yalda

Joined by our friends Arezou and Samira, we review Maryam Keshavarz's "The Persian Version" on the eve of Yalda.

Our friends Arezou and Samira join us to review Maryam Keshavarz’s The Persian Version! Continue reading Untitled

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#Asian American #comedy #Iranian #Iranian film #Iranian-American #Mayram Keshavarz #MENA #Middle East #Orientalism #Palestine #Persian #SWANA #The Middle Geeks #The Persian Version