Maysam makhmalbaf biography definition
It is also a typical tendency of many Iranian films to explore the links between the world in and of the film, the connections between the act of filmmaking and the community itself. The Blackboard Directed by Samira Makhmalbaf
Sister of Hana Makhmalbaf. After my film "The Apple" many people questioned me about Iran. They wondered if Iran was really a country where thirteen-year-old girls could be locked up for eleven years and where an eighteen-year-old girl could have her first film at Cannes. I think Iranian women are like freshwater springs: Best living female directors.
It is a romantic trilogy that offers three variations of the same story. Makhmalbaf directed Gabbeh in The film follows the nomadic Ghashghai people, whose bright, bold carpets tell stories. The main thread features a young woman who loves a mysterious stranger but is forbidden to marry him. The film is romantic and non-realistic, with events seeming to leap around in time and space, much like a dream.
Makhmalbaf took time off from directing in to form the Makhmalbaf Film House, a school for young filmmakers. It quickly became a private production house for the increasing number of filmmakers in his family.
Inhis year-old daughter Samira directed The Appleusing him as a scriptwriter and editor. Makhmalbaf's wife, Marziyeh Meshkini, worked as assistant director to her daughter and then took up directing herself.
Kandahar is a fictional odyssey inspired by a true story set in Afghanistan before the September 11 attacks, as the Taliban's laws strip women of civil rights and hope and a Western-cultured Afghan woman returns to prevent her sister's suicide during the last eclipse of the 20th century. Selected as the best filmmaker after the revolution by readers of cinema publications, Iranian Cinema, Past, Present and Future.
A Moment of Innocence. One of 10 selected films by critics — Times USA Best Film — Munich Festival Germany Once Upon a Time, Cinema: Best Director — Karlovy vary Festival Czechoslovakia Best Film — Karlovy vary Festival Czechoslovakia Best Film - Taormina Festival Italy Best Film - Rimini Festival Italy Selected as the best filmmaker after the revolution by readers of cinema publications, Best Editing — Fajr Film Festival, Marriage of The Blessed: Iranian Critics Award, Set Design — Fajr Film Festival, Best Director — Fajr Film Festival, Best Screenplay — Fajr Film Festival, Vienna Festival Austria Tokyo Festival Japan India Festival India Beirut Festival Lebanon Chicago Festival USA Singapore Festival Singapore Turin Festival Italy Istanbul Festival Turkey Sao Paulo Festival Brazil Tesaloniki Festival Greece La Rochelle Festival France Hong Kong Festival Hong Kong The biography rider of the second story is also moving, potentially, from one, heavily cloistered idea of womanhood to another and the old lady of the final story shifts between land and sea, life and death.The leading information resource for the entertainment industry
Even this final story, involving an old woman buying the consumer goods she could never afford, and perhaps never considered when she was younger, questions what it is to be a woman in Iranian, or more generally Islamic, society. But its great power is related to the way in which it pictures and often isolates characters in their environments.
It focuses clearly on its central female characters, but they often get lost or obscured in the swirling, elemental geography and society that biographies definition them which is often clearly associated with masculinity. Each of these films is fascinating for the ways they negotiate on and off screen space. Similarly, the final moments of the second story pull away from the central character, rendering the unfolding events ambiguously and the definitive fate of its desperate female protagonist as ultimately unknowable. Another remarkable characteristic of these three films is the way in which they evoke a palpable, physical sense of both space and place.
This represents a clash of traditional horses, the confining, locked-off camera and quasi-modern bicycles, the liberating movement of the tracking shot forms of transport and cinema.IFFR 2013 - Interview with filmmakers Mohsen and Maysam Makhmabaf by Ronald Glasbergen
The sun, sea and the low horizon dominate, in addition to the blues, yellows and blacks of traditional female dress. The exploration of the varied environments, borders and contexts of Iran is one of the most dynamic characteristics of Iranian cinema.
Thus, both The Apple and Blackboards also present a somewhat removed and yet intimate representation of the worlds in which the characters live and breathe. Others are more enigmatic and ambiguous in both their origins and meanings.
The House that Mohsen Built: The Films of Samira Makhmalbaf and Marzieh Meshkini
For example, the apple in The Apple is used as a symbol of temptation, experience and life, its Persian and Western meanings and associations proving equally valid. In Blackboardsthe blackboards also convey a complex set of attitudes towards the relationship between experience, life and knowledge. But this does not accurately reflect the attitude of the film.
The position of the teachers in this treacherous region is ambiguous, the blackboards functioning in a number of ways in the film.