|
mayaixchel liked a video
(1 week ago)
2012 Metamorfosis Enterprises Limited/ Distribuido en exclusiva por WMG Fuiste tú feat. Gaby Moreno (Video Oficial) Prensa Libre, Guatemala
|
|
| |
|
|
mayaixchel liked a video
(2 weeks ago)
|
|
| |
|
|
mayaixchel favorited a video
(1 month ago)
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitle...
more
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitles.
Synopsis:
Mạrʝane Șạtrapi is growing up in Iran under the old regime - the Shah and his Royal family. But when he is deposed by the new order, Mạrʝane and her family face the new threat of fundamentalism from the Islamic Republic of Iran. To make things worse, Iran and Iraq embark on a horrific 10 year war, and Mạrʝane's view of life is filled with fear and death. She seeks refuge in the West but finds herself excluded and homesick. Returning home, she finds that while she is deeply Iranian, she cannot live in Iran and begins a search for a new life and a new identity.
Review:
Don't let the scenes of a young, animated Șạtrapi (which frequently verge on the adorable) mislead you; this is, at heart, an impenetrably bleak, heavy, and difficult film about a young Persian girl's coming of age in the period surrounding the rise of the Ayatollah Ruhollah Khomeini -- a film that grapples with themes completely unascertainable by young audiences. As a result, one cannot possibly overestimate the film's historical and cultural vitality. It marks the first animated feature to meditate on the psycho-social impacts of extremist political and religious oppression, the Middle Eastern fascination with Western culture (and need for sexual liberation, evident in pạrt via the Iranian characters' surprisingly explicit dialogues), and the concept of ethnic and cultural identity as both a reassuring source of self-identification and an immense, emotionally crippling burden.
On that note, Șạtrapi's decision to cloak nearly 80 percent of the film in black and white constitutes a masterstroke; we never once feel depressed by the film, but it does feel aesthetically and stylistically oppressive -- as oppressive as any film in memory, in fact. The black and white functions as a nearly constant reminder of the difficulty of Șạtrapi's coming-of-age experiences, engendered in part by the confusing nature of the tumultuous events whirling around her and by an unbearable period in Iranian history. How telling that even when the adolescent Șạtrapi leaves Iran to experience life in and around Vienna (aside from the prologue and epilogue), scenes never take on color. Everything is filtered through her eyes, and we remain a prisoner of her perspective -- just as she, in turn, is inextricably tied her history, culture, and background. To put it another way: the filmmakers have conjured up a nearly perfect visual metaphor for the permanence of sociocultural identity.
Ƥersepolis is an animated film, but even though there is not a live person in sight, it's an extraordinary visual expression of the human condition. Șạtrapi describes her animation style as "stylized realism," where scenes are based in realism, but the images are design-oriented—sometimes almost to the point of abstraction. But this is no distancing device; on the contrary, the stylized images end up heightening the emotional impact of the story. When a young man is shot to death during a police crackdown of a demonstration against the Shah, the blood seeps from the body in a pool of black ink that covers the screen in darkness. By rendering her incredible story in these starkly expressive images, Șạtrapi not only adds intensity, but also strips the movie of cultural ornamentation, and the story becomes a universal one that we all can relate to, no matter what country we were born in.
less
|
|
| |
|
|
mayaixchel favorited a video
(1 month ago)
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitle...
more
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitles.
Synopsis:
Mạrʝane Șạtrapi is growing up in Iran under the old regime - the Shah and his Royal family. But when he is deposed by the new order, Mạrʝane and her family face the new threat of fundamentalism from the Islamic Republic of Iran. To make things worse, Iran and Iraq embark on a horrific 10 year war, and Mạrʝane's view of life is filled with fear and death. She seeks refuge in the West but finds herself excluded and homesick. Returning home, she finds that while she is deeply Iranian, she cannot live in Iran and begins a search for a new life and a new identity.
Review:
Don't let the scenes of a young, animated Șạtrapi (which frequently verge on the adorable) mislead you; this is, at heart, an impenetrably bleak, heavy, and difficult film about a young Persian girl's coming of age in the period surrounding the rise of the Ayatollah Ruhollah Khomeini -- a film that grapples with themes completely unascertainable by young audiences. As a result, one cannot possibly overestimate the film's historical and cultural vitality. It marks the first animated feature to meditate on the psycho-social impacts of extremist political and religious oppression, the Middle Eastern fascination with Western culture (and need for sexual liberation, evident in pạrt via the Iranian characters' surprisingly explicit dialogues), and the concept of ethnic and cultural identity as both a reassuring source of self-identification and an immense, emotionally crippling burden.
On that note, Șạtrapi's decision to cloak nearly 80 percent of the film in black and white constitutes a masterstroke; we never once feel depressed by the film, but it does feel aesthetically and stylistically oppressive -- as oppressive as any film in memory, in fact. The black and white functions as a nearly constant reminder of the difficulty of Șạtrapi's coming-of-age experiences, engendered in part by the confusing nature of the tumultuous events whirling around her and by an unbearable period in Iranian history. How telling that even when the adolescent Șạtrapi leaves Iran to experience life in and around Vienna (aside from the prologue and epilogue), scenes never take on color. Everything is filtered through her eyes, and we remain a prisoner of her perspective -- just as she, in turn, is inextricably tied her history, culture, and background. To put it another way: the filmmakers have conjured up a nearly perfect visual metaphor for the permanence of sociocultural identity.
Ƥersepolis is an animated film, but even though there is not a live person in sight, it's an extraordinary visual expression of the human condition. Șạtrapi describes her animation style as "stylized realism," where scenes are based in realism, but the images are design-oriented—sometimes almost to the point of abstraction. But this is no distancing device; on the contrary, the stylized images end up heightening the emotional impact of the story. When a young man is shot to death during a police crackdown of a demonstration against the Shah, the blood seeps from the body in a pool of black ink that covers the screen in darkness. By rendering her incredible story in these starkly expressive images, Șạtrapi not only adds intensity, but also strips the movie of cultural ornamentation, and the story becomes a universal one that we all can relate to, no matter what country we were born in.
less
|
|
| |
|
|
mayaixchel favorited a video
(1 month ago)
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitle...
more
Film: Ƥẹrsẹpolịs
Directed by Vincent Ƥaronnaud, Mạrʝane Șạtrapi
France/Iran (2007)
Coming-Of-Age/Biopic
9 parts/90 mins
In French with English subtitles.
Synopsis:
Mạrʝane Șạtrapi is growing up in Iran under the old regime - the Shah and his Royal family. But when he is deposed by the new order, Mạrʝane and her family face the new threat of fundamentalism from the Islamic Republic of Iran. To make things worse, Iran and Iraq embark on a horrific 10 year war, and Mạrʝane's view of life is filled with fear and death. She seeks refuge in the West but finds herself excluded and homesick. Returning home, she finds that while she is deeply Iranian, she cannot live in Iran and begins a search for a new life and a new identity.
Review:
Don't let the scenes of a young, animated Șạtrapi (which frequently verge on the adorable) mislead you; this is, at heart, an impenetrably bleak, heavy, and difficult film about a young Persian girl's coming of age in the period surrounding the rise of the Ayatollah Ruhollah Khomeini -- a film that grapples with themes completely unascertainable by young audiences. As a result, one cannot possibly overestimate the film's historical and cultural vitality. It marks the first animated feature to meditate on the psycho-social impacts of extremist political and religious oppression, the Middle Eastern fascination with Western culture (and need for sexual liberation, evident in pạrt via the Iranian characters' surprisingly explicit dialogues), and the concept of ethnic and cultural identity as both a reassuring source of self-identification and an immense, emotionally crippling burden.
On that note, Șạtrapi's decision to cloak nearly 80 percent of the film in black and white constitutes a masterstroke; we never once feel depressed by the film, but it does feel aesthetically and stylistically oppressive -- as oppressive as any film in memory, in fact. The black and white functions as a nearly constant reminder of the difficulty of Șạtrapi's coming-of-age experiences, engendered in part by the confusing nature of the tumultuous events whirling around her and by an unbearable period in Iranian history. How telling that even when the adolescent Șạtrapi leaves Iran to experience life in and around Vienna (aside from the prologue and epilogue), scenes never take on color. Everything is filtered through her eyes, and we remain a prisoner of her perspective -- just as she, in turn, is inextricably tied her history, culture, and background. To put it another way: the filmmakers have conjured up a nearly perfect visual metaphor for the permanence of sociocultural identity.
Ƥersepolis is an animated film, but even though there is not a live person in sight, it's an extraordinary visual expression of the human condition. Șạtrapi describes her animation style as "stylized realism," where scenes are based in realism, but the images are design-oriented—sometimes almost to the point of abstraction. But this is no distancing device; on the contrary, the stylized images end up heightening the emotional impact of the story. When a young man is shot to death during a police crackdown of a demonstration against the Shah, the blood seeps from the body in a pool of black ink that covers the screen in darkness. By rendering her incredible story in these starkly expressive images, Șạtrapi not only adds intensity, but also strips the movie of cultural ornamentation, and the story becomes a universal one that we all can relate to, no matter what country we were born in.
less
|
|
Justin