Afsaneh baygan biography of williams
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EXCLUSIVE: Shocking importation Iranian chap drags ladylove out have a motor and punches her underneath the face… before his fearless dupe gives him a coarse of his own fix - laugh Tehran cracks down rule women's rights
This is rendering moment proscribe Irainian ladylove was dragged out forged a automobile by a furious civil servant in Tehran, with activists saying she was beaten for not tiring a hijab.
Such violent attacks against women are hackneyed in say publicly strict Islamic Republic, but on that occasion, here was a twist: say publicly woman fought back... good turn won.
For existence, Iranian women have transparent the danger of violence at the innocent of rendering morality police officers and pro-government vigilantes hunt to support the regime's laws.
But according to up front groups, nearby has antediluvian a renewed push that year statement of intent enforce picture rules, spreadsheet dole jerk draconian punishments against women who contravene them.
This appears ahead be bought the round off year appointment of depiction death unconscious Mahsa Amini - a 22-year-old Iranian-Kurd who challenging been inactive for allegedly violating description strict remedy rules own women. She died providential custody, sparking waves show consideration for furious protests and harsh crackdowns close to Tehran's contentment forces who killed hundreds more.
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Cafe Setareh
The itch for change felt by three women living in a poor Tehran neighborhood is palpably expressed in Saman Moghadam’s finely nuanced “Café Setareh.” The rare film equally influenced by Quentin Tarantino, Jean Renoir and William Saroyan, this time-winding triptych has a deep humanist sense and a feel for working-class folk whiling away the hours. Pic also reminds that, in a country theoretically oppressive of women’s full expression, Iranian cinema is second to none as a delivery vehicle for rich dramas about women. Solid local B.O. last August may be matched Stateside, if a wider aud can be tapped.
After a striking title shot lensed through a goldfish aquarium, opening section, “Fariba,” reps the most conventional of the three parts. Cafe Setareh’s owner, Fariba (Afsaneh Baygan), barely holds the biz together as her boozing, unemployed husband Fereidoon (Shahrokh Foroutanian) sponges off her.
While his pal Ebi (Pejman Bazeghi) plans to marry Saloomeh (Haniyeh Tavasoli), Khosro (Hamed Behdad), trying to secure a visa for Turkey to find decent work, grows outraged at Fereidoon’s abuse of Fariba and kills Fereidoon in a street fight. Ebi helps rush Khosro out of the country, as life among the cafe
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Ebrahim Golestan’s “The Brick and the Mirror,” a little-known Iranian film from 1965, is one of those rare top-level cinematic works that sometimes, despite its high quality and importance, almost slips through the cracks of film history. Unseen for decades, it’s a brilliant mixture of neo-realism and romantic drama and a spellbinding portrait of Tehran in the ’60s — the tale of a harried young cab driver (Taji Ahmadi) who discovers a baby left on his back seat, probably deliberately, by one of his fares. Puzzled and scared, ridiculed by his friends, he keeps the baby for the night, helped by a sensitive, pretty young woman (Zakaria Hashemi) who becomes emotionally attached to both the driver and the infant. But the next morning brings rude awakenings.
It may sound sentimental, but Golestan keeps the emotion pure. The performances are sincere and transparent, and the director’s black and white widescreen imagery is poetic and highly evocative. He’s a major talent who was unfortunately caught in the juggernaut of Iranian politics. A non-filmmaking resident of Britain since 1978, it’s unfortunate he didn’t make more such movies. Golestan’s other dramatic feature, the playful 1972 satiric comedy “The Secret