“Women Without Men”, One More Must See Film from Iran.

Women Without Men.

Women Without Men.

Women Without Men sounds like another of those worthy but dull, educational chores. Nothing could be further from the truth. It’s a sumptuous, richly evocative film that calls to mind the heady days of Italian cinema in the 60s and early 70s.

Think late Visconti, De Sica’s The Garden of the Finzi Continis (reviewed earlier here) and the Taviani brothers. Imagine if Bertolucci had ever managed to use his technical bravura to actually say something.

Shirin Neshat, whose first film this was, has said that she was influenced by Kiarostami when she decided to make the move from conceptual art into the world of feature films. And she is very much part of that new wave of Iranian film makers that also includes Ashgar Farhadi, whose A Separation and About Elly I reviewed here and here, and poor Jafar Panahi, reviewed here who, outrageously, remains imprisoned in Iran.

This Is Not A Film

Panahi’s This Is Not A Film.

Interestingly and unlike them, she is looking at Iran from the outside, having lived most of her life as an exile in the US.

Neshat  has taken Shahrnush Parisipur’s famous novella, which charts the lives of four women, and has posited their stories against the backdrop of the events of 1953. It was then that the British and the US came together to overthrow the democratically elected government of Mosaddegh, and supplant him with a military dictatorship under the Shah, so they could regain control of Iran’s oil supply.

I can’t for the life of me imagine why a film maker would waste her time on historical events like this that clearly have so little relevance to the world we live in today.

Inevitably, indeed necessarily, revolution followed 25 years later. And immediately after which, the same crowd armed and funded Iraq in its war against Iran. And then, more oil, more US and British troops, yet more resentment, and so on ad infinitum. And let’s not even get into the centuries of abuse in neighbouring Afghanistan. Little wonder then that Iran looks at the West with all too weary and jaundiced eyes.

Women Without Men.

Women Without Men.

All of which could have resulted in a painfully dull film, part historical lecture, part feminist tract. But what Neshat has made instead is a marriage of magic realism and exquisite, formal precision. The result is ravishingly beautiful and quietly moving. Four female archetypes set against the backdrop of political turmoil, in the face of which, resistance appears futile.

And yet, resist they must. We all should.

It won the Silver Lion at Venice in 2009 – in fairness, the Golden Lion went to the brilliant Lebanon. You should see them both, and you can see the trailer for Women Without Men here.

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