Persepolis

"Persepolis" is an animated film based on Marjane Satrapi's autobiographical graphic novel of the same name about her childhood in Tehran during the last Iranian revolution and coming of age after emigrating to Vienna. It is an extraordinarily ordinary story about an average woman coming to terms with herself and with the world around her. Did I say "average woman"? My bad. I meant dynamic, charming, intelligent, and fiercely individualistic. Ms. Satrapi's story is among the finest works ever animated and bestows upon the viewer the endless virtues of knowledge, a broadened mind, and a true perspective on humanity. "Persepolis" will break your heart, make you smile and laugh out loud, cheer, possibly sing, and restore your faith in humanity. The fact that this was passed over for an Oscar in favor of yet another mediocre Pixar effort (about a rat that controls a chef by pulling his hair, no less) is the ultimate proof positive that that award (or any other, really) has no merit whatsoever. Young Marji walks down the street to the place where shady characters reside. As she passes each bootlegger, they whisper the names of the forbidden fruit they possess. "Lipstick" whispers one, "Jichael Mackson" mispronounces another. She continues on until she hears what she wants: "Iron Maiden". She quickly negotiates a price and makes off with her prize just as a group of overbearing religious figures tower over her. They have taken issue with her shoes: plain sneakers. Marjie insists they are for basketball, but another spots her Michael Jackson patch, a symbol of American greed. Then the coup-de-gras; she has "punk is not dead" scrawled across the back of her outfit. Thinking fast, Marjie bursts into tears, sobbing lies about her parents having died in the war with the Iraqis and a cruel guardian who will burn her with an iron if they turn her in. Safely back at home, having tricked the local oppressive religious posse, the young girl grabs a tennis racket as a guitar and bangs her head to the sweet, hard-earned reward of heavy metal. The scene then segues -music still rocking- to the frontlines of the war where the new Iranian Islamic rulers are sending young men unarmed to rush the Iraqi army, acting as human shields/martyrs. Their parents are rewarded by the government for their sons' sacrifices with little plastic keys which are promised to open the door to Heaven for their dead children. Such are the complications of everyday life in Iran at this time. The duality of these scenes speaks a lot for the power and message of this film. But while there is highly enlightening political commentary and historical information to be found here, the focus is on the everyday life and struggles of our protagonist with the horrors of her surrounding often being downplayed. The animation is minimalist art of the highest stylistic brilliance. The endearing nature of Marjie and her family is only highlighted by the ultra-simplistic black and white pencil-and-paper artwork. All of the CG in the world could not improve on this film in any way; the focus is on story, characters, and stylistic integrity, as it should be. The film's philosophies run deep and broad, ranging from harsh commentaries on authority to harsh commentary on purposeless counterculture. Wisdom comes from Marjie's grandmother, from her imaginary chats with God, and her memories of her communist uncle. These are life lessons about integrity, prudence, and acceptance that one should always carry with them and produce many, many quotable quotes. Do not think for a second that this film is all about heaviness of spirit and preachiness. No, no, no, no; nothing could be further from the truth. Ms. Satrapi is a brilliant social satyrist who fills "Persepolis" with pointed jokes, lighthearted moments, and heartwarming charm while pointing out that at heart, we are all the same. There is a time in Marjie's life where she becomes a lifeless, jaded cynic unable to do anything but watch TV and let life pass her by. Then one day, she wakes up angry again. The result is a musical montage that will likely make you laugh hysterically or jump out of your seat to sing along. Possiby both. This is just that kind of film. Throw in some animated love for Godzilla , Bruce Lee , and Terminator 2 and I am beyond sold. The DVD has a few behind-the-scenes special features that show us the woman herself at work. Having already fallen in love with her animated doppelganger, seeing the vivacious Marjane Satrapi made flesh is a real treat. We get a view of the old-school animation processes and are able to watch Ms. Satropi act out different characters for the animators to see. This is nearly as much fun as the movie itself. Wonderful feature. This is a near-perfect film that I would recommend to anybody who isn't going to run away from a mostly black and white animated film with subtitles. And if you are: well, enjoy your life of closed-minded cinematic ignorance. "Persepolis" is a revelation whose duty is to entertain us while reminding us just how good we have it and simultaneously educating us about a culture and history few in the West have made any attempt to understand. Ms. Satropi's insisted that this story be animated and not filmed for this reason: animated characters are more universally identifiable. Set a film in Iran and fill it with Iranians and you have an ethic film that many will subconsciously refuse to identify with. But with animation, all things are possible; even bridging a gaping cultural divide. But at it's heart, this is a film about the enthusiam of youth, the hardships of adulthood, and the triumph of personal integrity. Do not miss this.

What can I say? This was a great movie. And, because it was a cartoon, it was actually possible to do a very good English dubbing that is faithful to the French. Iran is a fascinating country. And most people know nothing of it. Iran was a great civilization in the times of the Romans, and before that. It is such a shame people only know about Iran through the press about it wanting nuclear weapons. Most people do not even know that Iranians are not Arabs, but a complex mix of many ethnic groups mostly united under Shia Islam. And, most people know nothing about Shia Islam either and how different it is from Sunni. They have been two separate faiths in almost all regards since Ali. Most of all, people picture Iran as "uncivilized" and in the same category as the mess that is Afghanistan. Iran has suffered much since the 1978 revolution. This movie shows you what life was like for a wealthy Iranian family before the revelation. Complex, cosmopolitan, and quite modern. Then it shows the hell that became Iran after the hardliners took over. It shows how all Iranians wanted really was to be free of imperial rule and take its place among the great nations of the world. And yes, at that time a lot of Iranians were socialists, but they were a people yurning for freedom. Through the eyes of a remarkable young woman, who to me symbolized Iran itself in many ways, the viewers of this movie are treated to poetry through cartoons. It is sometimes a hilarious movie. And it was tragic as well. Margane had such high hopes for herself and her country. And, keeping with the symbols, so did Iran at that time in 1978, the kind of optimism found only in children. And, as she grows up, so does her image of her beloved homeland. In the end, after much loss and growing up, she immigrates to France. But, she certainly is not happy about losing her family and her country. So many people don't understand that about many immigrants. They love their countries so much, but must divorce them to go on living a meaningful life. This is one of the best films about the Middle East that exists. It really doesn't have a particular political agenda. People living in such circumstances don't have much time to think about politics. That it certainly does not portray the West as fully positive is just history. It doesn't portray Iran as fully negative either. It simply is what it is. At times, it simply is absurd beyond belief and the only thing to do is laugh about it. The fact that it's in black and white reflects that memories tend to be that way. And, this is a woman's memories. It's her perception of the world. Memory is not actually reliable for recording history, and this movie makes that pretty clear. And that it was a trivial love affair that almost killed her is so true to life! She managed to survive the bloodbath of the revolution and war with Iraq. But it's breaking up with some boy that almost kills her. The scenes in color are the "third person" perspective scenes as well as being modern day. Some people get the impression that the black and white was to show how grey and depressing Iran was. I do not agree! As Paul Simon sang, "Everything looks clearer in black and white." Isn't that true of memories, which simply are perceptions? A beautiful film! One of my top 50 all time favorites. Just beautiful!

It's not easy for me to pinpoint why I love Persepolis so much, both as a book and as a film. But I'm going to try. I watched this movie for the first time a mere couple weeks ago for a film studies course. Going in, I knew absolutely nothing about it and had a feeling that I probably wouldn't like it much. The animation looked gorgeous, but as soon as I heard the words "It's a black & white movie from France" I figured I was in for something super artsy-fartsy, which I don't generally jive with. So imagine my surprise when I end up loving it enough that I buy it the very next morning. I have watched it another two times since and will most definitely be watching it again. For me, this one is truly special, one of those movies that only comes along once every few years that makes you think in ways you've never done before. Because did I know diddly-doo-da about Iran and the Middle-East before seeing this? Nope. I gave it little thought and when I did, the most immediate thing to jump in my mind was the portrayal of Middle-Easterns seen in something like Team America: a bunch of crazed religious extremists who want to kill everyone who doesn't follow the same lifestyle. Not that I actually believed it a reflection of every single person living over there (you'd have to be really thick to ever truly believe that about anywhere), I just never gave it much thought. Part of the reason I have walked away with these thoughts is that, when you get down to it, this movie isn't really about the Iran-Iraq War or the struggle of the people living under such an oppressive regime. It's a coming of age story that just happens to take place in that setting. Marjane (as she is portrayed in this movie) is very easy for most anyone to connect and relate to on even the most basic levels. She's rebellious, loves punk rock, falls in love, has break-ups, has a sometimes awkward social life, etc etc etc. Marjane and the people around her are normal, everyday human beings who desire the same things we do, with the same problems and interests as anybody living anywhere. While the movie is most effective at connecting with the audience on the most basic humane levels (which I believe is the whole point), it's also illuminating to see the crap that goes on in Iran during that period. To see how the horrors of war can influence the life of a little girl may be a real eye opener for those of us who know next to nothing about such things. While it's still all the subjective viewpoint of a single person, this movie is rather educational in ways. I really have a hard time finding flaws with this movie. It feels longer than it really is, and I admit to glancing at my watch a few times towards the end on my first viewing. Maybe it's because there isn't really much of a central story in the last act, which makes it feel like it's kinda meandering. But this is a minor nitpick, especially since I was still loving every moment. And it's truly the only semblance of a complaint that I have. Perespolis is amazing, period. While I can't guarantee it will leave as deep an impact on you as it did me, I feel this is a must-watch.

Persepolis is a 2007 adult animated biographical drama film based upon Marjane Satrapi's autobiographical graphic novel of the same name; It was written and directed by Marjane Satrapi in collaboration with Vincent Paronnaud. The story follows a young girl as she comes of age against the backdrop of the Iranian Revolution. Not mentioned verbatim, 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 as a titles summates some of the long-lasting effects of imperialism and reciprocal violence that Satrapi bears witness to in the 20th century. Persepolis (Meaning ‘city of the Persians’) was the capital of the Persian Achaemenid Empire; its construction began in 518 BCE under Darius I, and was intended as a fresh start for the Persian government administration. Persepolis was remote and difficult to access when compared to the previous capital (Pasargadae), but proved ideal in the safekeeping of literary works, art of varying kinds, and items considered of historical and cultural value to the Empire. Having died before the construction of Persepolis was completed, Xerxes I eventually completed the assembly of what most historians describe as the “richest city in the world” at the given time. Circa 330 BCE, Alexander the Great burned the city of Persepolis to the ground and in doing so eradicated hundreds of years worth of religious texts and artifacts. It is unknown why Alexander the Great decided to do this given all written accounts take note of the fact that he was drunk when this decision was made, however, some have surmised this as a retaliative impulse: in 480 BC Xerxes I had invaded Greece and subsequently incinerated a number of villages, cities, and temples indiscriminately. The name Iran was adopted in 1935 and primarily signified some desire for independence from Russia and Britain that was awarded under the rule of Mohammad Riza Shah Pahlavi; with this independence came the introduction of many social, economic, and political reforms, and these have since contributed to the development of what most people refer to as ‘modern-day Iran’. To Satrapi’s credit, making a cinematic adaptation of 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 likely prove difficult on the start. Much of her life story is rooted in history less familiar to a global audience, and this justifies scenes meant to be educational that are omitted from her source material. Though calibrated by what could constitute as hindsight bias, demonstrated is a sensible inquiry or appraisal of socially related expectations and experiences from the eyes of a child despite a lack of historically contextualizing material: the most obvious of these being the suppression of sources from which Satrapi could acquire music by certain artists, amongst other things. (Historical context incoming…) Launched on January, 26th, 1963 a large-scale set of reforms intended to modernize Iran known as the White Revolution was introduced by Riza Shah. It encompassed a number of elements with the intent of establishing an independently working relationship with the Soviet Union and surrounding European nations, and was initially largely successful in transforming Iran into a globally recognized economic and industrial power. This success was further championed by ongoing support from other entities such as the United States, and set a precedent for Western Culture to be more prominently reflected in the interests indulged by the larger Iranian community. Not all people were a fan of Pahlavi’s secular gumption, however, as the White Revolution largely destabilized traditional avenues of political power and influence; there were economic repercussions naturally, but of greater concern to the socially elite was the revocation of authority from clergyman as it previously involved education, family law, and there overall sense of supremacy over rural areas. Apprehensions were only aggravated by the belief that certain measures adapted for the sake of embracing modernity (IE: liberation related laws) were contradictory to Islamic values, and the instability of certain marketable assets (Such as Oil) posed a threat to Iran's economic posture. Unsurprisingly, action was taken early on to deter non-compliance with the Shah’s various decrees. Oppositional forces and voices were marginalized in that membership in certain political parties was outlawed and broad resistance to the Shah's regime was smothered and explained away as some international conspiracy. There are notable figure heads here and there who would have effects of their own on the Iranian Revolution of 1979, but few are as notorious as Ruhollah Khomeini. Acclaimed as an ‘Ayatollah’ (major religious leader), in June 1963 he spoke openly in the first speech known to attack the Shah directly as a “Wretched man”, and this would lead to his own exile circa November of this year. In spite of this, his sway would still be felt in writings that were smuggled into Iran, and on February 1st of 1979 Khomeini reported back to Iran following the news that the Shah had left the area with no clear plans to return. Interestingly enough, the riots most directly associated with the Iranian Revolution of 1979 are thought to been instigated by the publication of a letter in a newspaper in which Khomeini was being attacked by Pahlavi; it isn't clear to what extent this is an irrefutable fact versus a product of large-scale speculation, but within months of his return Khomeini became acknowledged as the first supreme leader of what he would call the Islamic Republic. It is dangerous to minimize the effect that personal bias may have when recalling painful material: it makes demonizing enemies effortless and the defense of personal causes all the more accessible. Critical, but empathetic in admirable amounts, 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 makes a point of reconciling what some might call atrocities with perceptively justifiable ideals. While in power during the chaos of the Iranian Revolution, Khomeini exclaimed that Iran's new government would be based on the Sharia of Islam. Sharia, meaning ‘the clear well-trodden path to water’, is a set of values derived from the Quran in addition to the teachings of the Prophet Muhammad. From the outside looking in the Sharia by sheer principle is oppressive, and the discomfort it can lend to is Illustrated in behaviors adapted by Satrapi’s family (IE: Satrapi and her mother wearing a hijab in public) for the sake of feigning complicity in context that can easily be the difference between life and death. Herald by many as the “face of Iran” during his reign, it is of no surprise that broadly applicable criticisms to Khomeini’s 𝒊𝒏𝒕𝒆𝒓𝒑𝒓𝒆𝒕𝒂𝒕𝒊𝒐𝒏 of the Quran (key word here being: interpretation) shaped the way in which this area was and has since been perceived on an international scale. It was labeled by various institutions such as the UN as “The most savage violator of human rights,” though some of eventually come to understand the Islamic world as one that lives in and perhaps should be judged by an entirely different set of standards when compared to other nations. Relative to remarks made about Iran when covered by Khomeini in far-reaching outlets of media, his own supporters were quick to challenge nations whose actions were indicative of hypocrisy in some measure by way of double-dipping economic chips into a critical state of affair. Indulgences in this right would rank from implied to explicit in nature, and this comes to a head at one point in 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 that mentions the United States as having acted duplicitously in the realm of arms dealing. One may wonder and ask to what extent the United States justified the selling of weapons to those in favor of Khomeini and those that actively opposed him at the same time, and in what proportion fif Khomeini openly relent the United States as a freestanding enemy. As alluded to previously, the Shah and his family left Iran for eventual exile in Egypt, but this wasn't before going to the United States to receive treatment related to a cancer diagnosis soon after having been overthrown in 1979 (A diagnosis, that by the way, was revealed to the Shah in 1978 despite being the made by doctors in 1974 and kept a secret from him). Suffice to say, there were citizens in Iran that perceived the United States’ willingness to receive the Shah as being complicit in crimes against the people of Iran he was accused of, and on November 4th, 1979 a group of militarized students took over the U.S. Embassy of Tehran and seized sixty-six hostages. The hostages would be released gradually over the course of 444 days, and was only permanently concluded by negotiations that removed US sanctions against Iran, forgave loans made to Iran by American Banks, and adjudicated claims to Iranian property previously made by American Nationals. Much like with Alexander the Great and the burning of Persepolis, most Americans agreed this hostage situation was an egregious violation of International laws, and this separately incentivized weaponry related support being openly provided by the United States to the forces that most loudly opposed Khomeini’s regime. This, however, did little in terms of cutting him off permanently as a potential ally in other regards; Khomeini went to great lengths to reassure American leaders that certain resources (like oil) would still be sold to the United States if he was appointed to a high-ranking position of power, and he also implied that some American presence might counterbalance any influence of the Soviet and British variety. Even still, few moments shed light on the relationship between the United States and the larger area of Iran during this time as does the Iran-Contra Affair; this is a scandal in which the Reagan Administration 𝒔𝒆𝒄𝒓𝒆𝒕𝒍𝒚 facilitated the sale of arms to the Islamic Republic of Iran from 1981 to 1986 for the purposes of funding an anti-communism group in Nicaragua called ‘The Contras’ after U.S. support was banned by Congress; the real kicker here, perhaps, is how successful this scheme was in subsequently circumventing and exploiting an arms embargo that the Islamic Republic was subjected to during this time in addition to tactics carried out by ‘The Contras’ that the United States would eventually label as human rights violations. This all goes without rambling on about the military industry developed in Iran as a 𝒓𝒆𝒂𝒄𝒕𝒊𝒐𝒏 to these imposed embargoes, but all of these ceremonious ‘check-points’ are reflected (though not elaborate on separately) in 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔’ wide eyed impetus. Here, there are no pots calling kettles black and vice-versa, but rhetorically-centered questions as to how filthy a metaphorical cup can be before its contents are no longer enjoyed. As could be predicted, 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 is banned in Iran. In fact, the Iranian government denounced 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 as a project and got it dropped from the Bangkok International Film Festival the year it premiered. Because of censorship rules imposed on Iranian filmmakers, for some there's little room for nuance and agency when it comes to portraying the lives affected by the Islamic Republic even in modern times: much less so when concerning a woman as it is forbidden to show them unveiled, physical contact between a man and woman on set is discouraged, and criticisms of Islamic principles are prohibited and subsequently censored. Artists that have disregarded these guidelines have been previously persecuted, sentenced to prison, and denied the opportunity to have their work viewed in Iran (as is the case with Dariush Mehrjui, who has been making films since Pahlavi was in office) for the sake of maintaining a status quo that is determined to remain impervious to disapproval in any measurable fashion. Perhaps quite obviously, these ‘guidelines’ aren’t the main reason 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 is an animated film as its design is inspired by drawings done by Satrapi herself that can be found in her autobiography The technically challenged choice to preserve 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔’ as a black and white feature (as mistakes are harder to cover up on screen with such muted color schemes) extends further as a personal touch: This discourages drawing abstract meaning from colors that could be present and reinforces the application of Satrapi’s past as a way of sympathizing with her fractured future. There are fairly negligible differences to be observed in 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔’ source material and its film adaptation; specifically, Satrapi’s comic is much more explicit and frank as it concerns the topic of emotional turmoil, and it includes scenes not alluded to on screen (Such as instances in which Satrapi's mom actually visits her while she is residing in Europe). Ironically, these changes may very well be what preserves 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔’ broad applicability when it comes to stories regarding adolescence and self-fulfillment: Satrapi’s apparent gravitation to chaos is natural as a side effect of guilt and alienation from her more privileged peers, and the tightrope of assimilation and rebellion she walks is accentuated by 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔’ overarching context; it is hard to relate to to the degree that is necessary, and yet easily connects with its audience where it counts. No matter the opinion (uninformed or not) one has of Iran before watching, the lives influenced by its historical resonance will continue existing in some capacity with or without our permission. Suffice to say, their transmittable appeal is further influenced (and perhaps compromised) by a set of rules and social cues most viewers can't even begin fathoming or contending with. Neither predator nor prey, 𝑷𝒆𝒓𝒔𝒆𝒑𝒐𝒍𝒊𝒔 bares its teeth in intelligently quantifiable amounts, and with one of its legs seemingly always stuck in a trap is a story so brilliantly connected to self-assured resistance and humbled surrender. It is not one thing, but instead many things: A brave thing. A meek thing. A tragic thing. A complicated thing. A beautiful thing. It is both an estranged entity and a generously friendly one. An ode of sorts: to suffering, growth, and the price a marginalized and disenfranchised population has paid and continues to pay in the hopes of ‘freedom’ that often goes unaccounted for and ignored.

This is just a funny, sad, and poignant French animated non-fiction film. It's not quite the same as watching a Superman or Wonder Woman animated film. This film delves into the childhood and young adulthood of a young Iranian teenager/woman growing up in Iran and in Europe. It's gives you a different perspective on things, but it actually isn't as different as one may imagine. Aren't all of us young, one time in our lives and don't some of us have issues growing up as adolescents and aren't there always some economic, political, or family difficulties when we were growing up? Sometimes, it's just a part of life. These are the times in which we grow up. I just watch it for more of an entertainment value rather than a history lesson in Iranian life and politics or about growing up in Europe. I found no need to argue or to to overanalyze the film, I accept it as an autobiographical work, done in an unusual, but entertaining format. Watching it in French with English subtitles is really funny. I recall a scene with her falling in love with a Spaniard, and I had to laugh at how it turned out. It probably was the most funny scene in the film. The nuns in Austria were hard on the girl. Just imagine the ultra strict and tough nuns that you see in the film "The Sound Of Music," without the sweet Maria and without any music and joy. The film is mostly done in a simplistic French cartoon style. If you look at the cover of the blu-ray, you will see a representation of the style.

While animation is an art form primarily associated with children's entertainment, there are more than a few animated films which deal with more mature themes and are geared towards an older audience. PERSEPOLIS is one such film. Co-directed by Marjane Satrapi, who based this on her experiences as a young girl growing up in Iran, it tells a story about the struggle to find one's identity in a rapidly changing world. In Marjane's case, her formative years took place amid the chaotic years of the Islamic Revolution when the US-backed Shah was overthrown by populist revolt and an Islamic Republic established in its place. Even though communist revolutionaries, such as her uncle, were imprisoned under the Shah's rules, the Islamic Republic that replaced it was in some ways even more repressive. As a way of escaping this, Marjane is sent off to a French school in Vienna but she eventually comes back to her family after bad experiences leave her alone and almost destitute. Yet, the Iran she returns to is even more different than the one she grew up in and left before. Ultimately, this is a simultaneously complex and simple look at Iranian life through the eyes of a young woman. It's complex in the sense that Marjane has conflicted feelings about the country of her ancestors, yet simple because it is presented through the eyes of someone who has yet to find themselves. This film is based on a graphic novel, and the mostly black-and-white animation style reproduces this look faithfully while also adding a sense of childlike wonder. It was a simple, yet beautiful, way to tell an important story. I hesitate to say that Marjane's story is representative of all Iranians' experience, yet it is valuable precisely because it is a personal experience. The story of her life growing up is tragic and hopeful, sad and yet still not without humor. This rollercoaster of emotions and unique look at an oft misunderstood culture are the film's strongest selling points, aside from the top-notch animation and score. For viewers looking to expand their horizons a bit, PERSEPOLIS has everything you could possibly want from a great film: action, romance, tragedy, humor, etc. It has it all, and most importantly it provides unique cultural insight. Highly recommended.

Bought for a French class. Students in HS are required to read it. Well done

In this adaption of her graphic novel/memoirs, Marjane Satrapi and co-director Vincent Paronnaud have done a masterful job in bringing Satrapi's illustrations to full life. She's opted to streamline some of the narrative from the books in order to make one cohesive film, and it stands strong unto its own. I especially appreciated the delicate honing of the storyline of Uncle Anoush, very subtle, even subtextual, but a beautifully handled. Highly recommended. Nothing else like it, even still today, since it was made in 2008. Brava 🥂

Buena y original película. Hecha en dibujos animados, está recomendada para un público adolescente o adulto. Tiene momentos en color y otros en blanco y negro (ligados a las emociones). Me gustó porque contrasta el mundo oriental y el occidental, sacando lo mejor y lo peor de ambos. Plantea cuestiones importantes acerca de la vida, conjuga la alegría con el dolor, el amor con el odio y todo tipo de sentimientos, emociones y pensamientos entrelazados en el tiempo, es decir, a lo largo de la vida de Marjane, su protagonista, que nos cuenta la historia de su vida desde su nacimiento en Irán, pasando por sus viajes en diferentes países y el final de su historia. Una historia real, más común de lo que podemos pensar.

This is a brilliant movie. Given I'm not overly fond of animated movies, I was surprised how it didn't affect my enjoyment. Set in post-revolutionary Iran, it provided insight how an ordinary family copes with the strictures of the regime, the rebellion of the daughter which induced the family to send her to a safer environment for her ongoing education, her 'adventures' through teen years, love affair, and subsequent return to Iran to rejoin her family. Ultimately, her parents felt it would be better and safer for her to remain abroad. The viewer identified with the love and agony of the parents in making the decision to send their daughter away. The dialogue, facial expressions, family events, indeed the entire movie, was a tour de force in animation and storyline. Filmed in black and white emphasized the starkness of life in post-revolutionary Iran. I've seen the movie twice, enjoyed as much the second time as first. Highly recommended.

I was very impressed with this animation movie about the effects of the Islamic revolution in a young Iranian girl and how it continues to affect her in her adulthood. It runs for 90 minutes and it has slighty inocent jokes and more serious and profound remarks. Is sad to realize that the repression portrait in the movie is happening in Iran as we speak ( type ). It portraits the Iranian people as genuine ,loving ,interested in democracy and freedom but sadly they controlled by a small number of fanatics that rule every aspect of their daily lives. The scene at the airport is very sad as she changes from free and happy to sad and depressed having the luagagge inspected for " forbiden items " ( inc playing cards !!). The movie has 2 parts before and after Viena and I feel the first part is more interesting than the second. Sean Penn provides the voice to the main male character and makes a few remarks about the Iran- Irak war that might lead the viewer the think "is was all the West fault " . Sadly "the west " made attempts to stop it once it was all to clear a stealmate had been achieved but the ayatollahs refuse the peaceplan and carried on the slaughter another 3 years. Great movie with some simple animation , moving and actual. 5 stars

日本語はありませんが、原作を読んでいたことでさほど苦にならず視聴できました。

Una gran película con un guión excepcional y muy positiva. Emociona y la realización de los dibujos animados es muy buena.