Hanieh tavassoli biography of donald
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When he eventually returns home, he encounters a scene that Punishment Siamak Mostafa Zamani tries desperately to raise blood money to save his brother from death row.
Siamak is robbed in the process, setting him on a path of discovery. As he tries to find the thieves who took the money, his brother's sinister secrets begin to reveal themselves, plunging him into a n Private Life Intense thriller following a religious newspaper editor who is faced with temptation.
When Ibrahim Farhad Aslani meets a young writer who is seemingly interested in a job, things quickly take a turn.
A gripping story of paranoia and obsession then ensues, culminating in the most unexpected of clim One Night When Negar arrives home after a long day at work, she discovers that her mother is expecting a visitor that evening.
She is forced to spend the night away from home and begins to wander the city. Three men with three different stories teach Negar new lessons about family, relationships, people and l Ethereal After her wedding to a young businessman, Roshi's life is suddenly engulfed by a series of paranormal events. Roshi is being haunted, and as the strange blackouts and inexplicable moving objects continue, her constant fear takes a heavy toll on her relationship with her husband.
Tormented by the gho Crime, Drama, Horror Actors: Dying in September This gentle drama follows the story of Sina, a gifted young man with a passion for music. Under his father's authoritarian supervision, Sina juggles studying for university with taking care of his handicapped brother. Sina longs for more adventure from life, and gets exactly what he wished for when We Came, You Weren't There, We Left In this wildly inventive adaptation of the classic tale of Pinocchio, an impressive ensemble cast of well-known cinema stars drive the plot forward.
Among others, Hanieh Tavassoli, Babak Hamidian, and Leili Rashidi tell the story of the wooden boy who wants nothing more than to be human.
We Came, You Weren't. Special Line A computer science genius ropes his sister into some online hacking. Together they manage to get into the bank account of a big time investor. However, they fail to anticipate the lengths this investor would go to to take back what is rightfully his.
A great crime drama that will glue you to your se Seven Months Captivating social drama. At seven months pregnant, Rana is worried she may lose her child after having multiple abortions previously. Her husband shows little sympathy for their situation. The man is usually supposed to solicit the permission of his first wife, but Ebrahim dispenses with this "formality. This may be interpreted as a reference to Atoallah Mohajerani, who as a minister of culture and Islamic guidance during the Khatami era was considered a liberal thorn in the side of the conservative establishment, providing the reformist press with licenses to publish their newspapers, journals, and books.
Mohajerani was accused by the Revolutionary Guard-controlled Fars News Agency -- which is well known for fabricating "news" whole cloth for ideological purposes e. Whether this is a not-so-subtle swipe at the former culture minister, who made a famous defense of free speech in Islamic terms to the Fifth Majles, one can only speculate.
But it is certainly curious that the film uses charges leveled against high-profile reformists and critics of the regime by the conservative and Guard-affiliated press to circuitously impugn the latter's credibility.
Farah Bakhsh was most probably trying to grope his way across the veritable minefield laid down by government censors and perhaps even placate them. It is at points like this that the question arises of whether Zendegi-ye Khosoosi is also a critique of the Islamic Republic's reformists' perceived moral inconsistencies and failure to act on their rhetoric. While the view that they have been morally inconsistent can be found in the smear campaigns of the conservative Iranian press, and to a lesser extent the diaspora, the idea that the reformists failed to live up their rhetoric appears to be more broadly held.
It was definitely seen in the University of Tehran student body's unenthused, even hostile reception of Khatami in Decemberand Zendegi-ye Khosoosi certainly seems to be giving voice to such a sentiment. In a scene set at the newspaper's offices, Ebrahim dismisses a proposed front-page byline on the basis that his enemies will accuse him of following the "BBC's line. It is easy to read this scene as a jab at the reformists, implying they engage in doublespeak -- radical in private, while publicly staying within the bounds laid down by the nezaam for purposes of political and economic expediency.
It also implies that Iranian political personalities might themselves often rely on BBC Persian because of the dearth of journalism with a critical edge produced inside the country. In another important scene, Ebrahim visits a former Revolutionary Guard commander who headed an important battalion in the Iran-Iraq War and lost two sons in the conflict.
Attempting to persuade the former commander to give an interview on the state of the country, Ebrahim insists, "I am your servant, my newspaper is at your disposal.
We see the pictures of Ayatollahs Khomeini and Khamenei that adorn the veteran's office walls. The people of this country are in your debt. The veteran replies, "It could have been far better than this if we hadn't forgotten our ideals.
Ebrahim's denial of the existence of the 12th Imam is a clear reference to Akbar Ganji who, in numerous articles written since he left Iran inhas endeavored to popularize the writing and research of individuals such as Hossein Modarressi, professor of Islamic Studies at Princeton University, whose book Maktab dar Farayand-e Takamol first published in English in as Crisis and Consolidation in the Formative Period of Shi'ite Islam proved most controversial, and Iranian researcher and polemicist Haydar Ali Qalamdaran, who advocated a puritanical brand of Islam during the s and s, and denied the validity of the Shia belief in Imamate and the special status accorded to the 12 Imams.
Naraghi has penned an interesting essay, "An Ethical Critique of the Guardianship of the Jurisconsult," which has provoked the ire of supporters of Iran's theocratic system. Since Naraghi is identified with the Green Movement, Jahan News, of course, also determined that the film was a machination of the "deviant current.
While the former commander concludes that young radicals like Ebrahim, who were distinguished from their ideological rivals by their fervent advocacy on behalf of the radical clergy, were responsible for the Revolution's "deviation," at the same time he rebukes the newfound radicalism of individuals like Ganji, who attack the foundations of Shia belief such as the occultation of the 12th Imam.
After Parisa phones Ebrahim's home, fueling his wife's suspicion that he is unfaithful, he meets with Parisa to end their affair once and for all. I fucked up," he declares. In disbelief, all he can muster is, "I'm not the kind to be a coward. I'll try to help you, I'll get a good doctor. Parisa, the quicker you get rid of it, the smaller the sin. Though Ebrahim repeatedly rejects the possibility that they can have the life together she desires, Parisa refuses to abort the child. Visibly perturbed, he tells her, "You've gone mad.
She angrily shouts back, "Why? Because I don't let you make my decisions for me?
For a lifetime, I've been hurt by men like you. Before my divorce, I was pregnant and that bastard forced me to abort the child Ebrahim, I'm going to keep this child whether you're around or not.
Cinema | 'Zendegi-ye Khosoosi': The 'Private Life' of an Iranian Reformist
Just a birth certificate for my child. After dodging her calls for several days, Ebrahim comes home to an empty house and to his great surprise finds Parisa and his wife, Forough, sipping tea together in the garden. Oblivious to Parisa and Ebrahim's connection, Forough retells how after going shopping she realized two of her tires were punctured and she had no way to pick up their son, Meisam, from school.
Parisa, whom Forough calls an "angel," "luckily" appeared on the scene and shuttled Forough around on her errands before dropping her home.
This is just one of many instances in which Zendegi-ye Khosoosi slides into a stale, sanitized rehash of the popular film Fatal Attraction, starring Michael Douglas and Glenn Close, albeit with an Iranian twist, in which female jouissance poses a potentially explosive threat beyond the control of law and order.
Here the film problematically blurs the lines between two issues: Toward the end of the film, Parisa dowses Ebrahim's car in gasoline and sets it alight, and stalks both him and his wife and son. After admitting to having destroyed his car, Parisa tells Ebrahim, "I'll shame you and get my and my child's rights. In a fundamentally asymmetrical and discriminatory legal system, the problems faced by Iranian women regarding the defense of the rights over their bodies and with respect to their children are persistent and all too real.
Their daily struggles, which for the most part go publicly undiscussed, are metaphorically minimized by the manner in which Parisa's "erratic" behavior is represented alongside her demand that Ebrahim properly recognize her and their unborn child. Despite claims to the contrary that the women who partake in sigheh possess a clearly demarcated legal status, in practice, they often find themselves with few if any rights at all, especially when the contract is privately concluded and only the involved parties are aware of it. In the case of Ebrahim and Parisa, she has no legal status or rights whatsoever, and for protesting this debased status is depicted as "mentally unstable" and "deranged.
In other words, the only "liberated" or "independent" woman in Ebrahim's life turns out to be a hysterical stalker, and thus the film in many ways perpetuates the typology of femininity propagated by the Islamic Republic that a "free," "independent" woman must be in some respect "abnormal" or a "problem," "incapable of keeping a husband," or even potentially "dangerous. The archetype of the "hysterical woman" is at the same time complemented by the doting housewife shir-berenjwho is for the most part none the wiser to her husband's transgressions. In this way, it could be argued the film undermines the very real fight and struggle of many women, both religious and secular, to retake possession of their bodies, even if at the same time it takes aim at reformists' lip service to women's rights.
It is, for instance, abundantly clear that Ebrahim, even as a "radical reformist" and supposed "progressive voice" within the system, is unprepared to let this "hysterical," "crazy" woman disturb his cocoon of marital stability and dry conventionality. Realizing that Parisa is not going to abort the child as he wishes or leave him and his family in peace, he lures her into a car, claiming he has changed his mind and decided to take responsibility for both her and the still unborn child. As he drives, a relieved Parisa chats away about how she felt it necessary to put a scare into Ebrahim in order for him to assume responsibility and how she "would rather die than live alone and in fear.
He then dumps her body and sets it alight at the side of the road. An imaginary or perhaps even hallucinated dialogue then takes place before Ebrahim as he sits behind the steering wheel sobbing, apparently at the enormity of the crime he has committed. It would have been a bigger sin to allow you to destroy my credibility and bring shame to my life. This world is much filthier than we think. I'm not afraid, because I don't believe in justice. In this way, just as Ebrahim says earlier in the film about the political realm that " khodi-ha [insiders] and gheir-e khodi [outsiders] have gotten all mixed up," we are shown that "right" and "wrong," "good" and "evil" are intertwined and yet inseparable, as the reformed zealot commits murder in order to "preserve his honor.
One might contend that the child symbolizes the future generation, thwarted before it even had an opportunity to bloom, destroyed by brutal calculations of personal interest and political gain. The circle of misogyny that began with the young Ebrahim pushing tacks into "badly veiled" women's foreheads ends with him torching the corpse of his temporary pregnant wife. And despite the retired commander's admonitions about the paramount importance of ethics, Ebrahim once again resorts to a Machiavellian mantra of the end justifying the means.
Despite appearances, Ebrahim hasn't come all that far from his ignominious origins. Whether intentionally or not, Zendegi-ye Khosoosi highlights the moral ambiguity of many high-profile Iranian reformists by way of metaphor, suggesting that even the most progressive among them have blood on their hands and that the political elite as a whole are rotten to the core. The veracity of this suggestion and the extent to which it may apply will be clarified not by film directors or actors and actresses, rather by historians and researchers, but what is interesting is that Farah Bakhsh's film gives vent to a familiar refrain of Iranians both within the country and among the diaspora -- all the more familiar after the controversies and unprecedented protests of the election and the ambivalent reception by some of Mir Hossein Mousavi's leadership.
The morally convoluted nature of political leadership with a past in the revolutionary order is both inescapable and seemingly indicative of its predestined failure.
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