Latest news with #ParinazIzadyar
Malay Mail
24-05-2025
- Entertainment
- Malay Mail
Hijabs, permits and suspense: Iranian director Saeed Roustaee unsure if he can go home after Cannes
'Woman and Child' in running for Cannes' top prize One of two films from Iran competing in 22-strong pool Director says he observed boundaries to avoid issues CANNES, May 24 — Iranian filmmaker Saeed Roustaee said on Friday that he was careful in how he shot his Cannes Film Festival entry 'Woman and Child', which never shows women without the mandatory hijab, but was still unsure how he would be received when he returned home. 'Last time, they took my passport,' said the 35-year-old about his last appearance at the festival in southern France, for competition title 'Leila's Brothers' in 2022. 'This time, I hope they don't. I just want to go home.' Roustaee had also been handed a six-month suspended sentence over that film for showcasing it without Tehran's authorisation. The director said that facing a sentence places a heavy burden not only on the person, but all their friends and family. 'Maybe you can handle it yourself, but when you see that your elderly parents can't, it hurts more,' he told journalists. His new film, 'Woman and Child,' stars Parinaz Izadyar as single mother Mahnaz, whose decision to marry her boyfriend Hamid kicks off a series of events culminating in tragedy. Roustaee obtained a permit for the new film, because without it, there was no way he was going to be able to shoot, he said. 'I don't know to what extent I'm self-censoring, but ultimately, I live in Iran,' the director said. 'I'm making films in Iran, and I very much want people to see my films on the big screen. So probably, I am observing certain boundaries so that my films can make it to the screen.' 'Woman and Child,' which premiered on Thursday, is one of two Iranian films competing for the Palme d'Or top prize this year, the other being 'It Was Just An Accident' by Jafar Panahi. Panahi, who does not apply for government approval, also plans to return to Iran to begin work on his new film even though he only recently was allowed to travel after 15 years. In total, 22 films are competing for the award this year. — Reuters
Yahoo
23-05-2025
- Entertainment
- Yahoo
Iranian Director Saeed Roustaee's ‘Woman And Child' Gets 10-Minute Ovation In Cannes Debut
Iranian filmmaker Saeed Roustaee had the afternoon competition slot at the Cannes Film festival for his latest movie Woman and Child, which got an 10-minute ovation after it screened Thursday. Roustaee and star Parinaz Izadyar were among those in attendance for the premiere. More from Deadline 'Woman And Child' Review: Iran's Saeed Roustaee Delivers A Fiery Feminist Portrait Of A Woman Who Refuses To Be Pushed Aside – Cannes Film Festival Joachim Trier's 'Sentimental Value' Wows Cannes In Premiere, Gets Extraordinary 19-Minute Ovation 'I Only Rest In The Storm' Clip: Portuguese Un Certain Regard Title Delves Into Neo-Colonialism & International NGOs - Cannes A 10 minute standing ovation for Iranian director Saeed Roustayee's 'Woman and Child' starring Parinaz Izadyar | #Cannes2025 — Deadline (@DEADLINE) May 22, 2025 The story follows Mahnaz (Parinaz Izadyar), a 40-year-old widowed nurse who is about to re-marry; she is also struggling with her rebellious son, Aliyar (Sinan Mohebi), who has been suspended from school. Family tensions reach a peak during a betrothal ceremony with her intended Hamid (Payman Maadi), and a tragic accident occurs. In the aftermath, Mahnaz will be forced to confront betrayal and loss, and to embark on a quest for justice. Roustaee has previously said that Mahnaz's character 'screamed in his mind' and told the festival, 'The film tells the story of a woman fighting all the men who made her live in a patriarchal society that deprived her of all her rights, including that of a mother.' Roustaee, who also wrote the screenplay for Woman and Child, was last in the Cannes Film Festival Competition with Leila's Brothers in 2022. That film resulted in a six-month prison sentence and a five-year filming ban for Roustaee as imposed by the Islamic regime. The star of that movie, Taraneh Alidoosti, was sentenced to five years in prison after publishing a photo of herself without her hijab. In both cases, the sentences were eventually lifted. According to the Cannes festival, for Woman and Child, Roustaee complied with certain restrictions, but maintains that he has not made a propaganda film, rather a film about social resistance. Woman and Child is released in France via Diaphana; sales are with Goodfellas. Best of Deadline Every 'The Voice' Winner Since Season 1, Including 9 Team Blake Champions Everything We Know About 'Jurassic World: Rebirth' So Far 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out?
Reuters
23-05-2025
- Entertainment
- Reuters
Iran's Roustaee concerned about return home despite cautious Cannes film
CANNES, France, May 23 (Reuters) - Iranian filmmaker Saeed Roustaee said on Friday that he was careful in how he shot his Cannes Film Festival entry "Woman and Child", which never shows women without the mandatory hijab, but was still unsure how he would be received when he returned home. "Last time, they took my passport," said the 35-year-old about his last appearance at the festival in southern France, for competition title "Leila's Brothers" in 2022. "This time, I hope they don't. I just want to go home." Roustaee had also been handed a six-month suspended sentence over that film for showcasing it without Tehran's authorisation. The director said that facing a sentence places a heavy burden not only on the person, but all their friends and family. "Maybe you can handle it yourself, but when you see that your elderly parents can't, it hurts more," he told journalists. His new film, "Woman and Child," stars Parinaz Izadyar as single mother Mahnaz, whose decision to marry her boyfriend Hamid kicks off a series of events culminating in tragedy. Roustaee obtained a permit for the new film, because without it, there was no way he was going to be able to shoot, he said. "I don't know to what extent I'm self-censoring, but ultimately, I live in Iran," the director said. "I'm making films in Iran, and I very much want people to see my films on the big screen. So probably, I am observing certain boundaries so that my films can make it to the screen." "Woman and Child," which premiered on Thursday, is one of two Iranian films competing for the Palme d'Or top prize this year, the other being "It Was Just An Accident" by Jafar Panahi. Panahi, who does not apply for government approval, also plans to return to Iran to begin work on his new film even though he only recently was allowed to travel after 15 years. In total, 22 films are competing for the award this year.
France 24
22-05-2025
- Entertainment
- France 24
Hijabs onscreen, critics offscreen for Iran film in Cannes
The Cannes Festival has long offered a platform for independent Iranian filmmakers whose work is lauded on the French Riviera but usually banned at home. Roustayi has previously defied his country's authorities. His last film in Cannes -- "Leila's Brothers" in 2022 -- landed him a six-month suspended jail term and film ban. "It affected my whole life, my family, and those around me," the 35-year-old told AFP. Three years later, he is back again with "Woman and Child", again chosen for the main competition -- but this time with official approval. The script was approved by Iranian censors, and the actors follow Iranian law, with women wearing the government-mandated hijab at all times on screen -- even during scenes at home, where headscarves are typically taken off. "I'd love to make films without the hijab. I truly want to do that because I know my films would be more real and natural," Roustayi told AFP. He added: "I didn't want a permit, but they force you to get one. If you want to film in big locations like hospitals or schools or use professional cinema equipment, they require a permit." The women actors in Roustayi's movie did not wear hijabs when the film's team walked the red carpet for the Cannes premiere, though the lead actor, Parinaz Izadyar, wore a discreet headpiece. Ahead of its screening in Cannes, his work was hailed in Iran's state media, with the IRNA agency calling it "a happy and important moment for Iranian cinema". Exiles Roustayi's films often focus on the plight of women and "Woman and Child" is no exception, following a widow who struggles to balance the demands of her children, love life and work as a nurse. The director said he wants to make socially conscious dramas, and was seeking to "save" Iranian cinema from the low-quality commercial features that most of his compatriots are forced to watch. But his desire to make a film that can be viewed in cinemas in his homeland, not just at international film festivals and cinemas abroad, has been condemned by some exiled Iranian film figures. The hijab has become a politically charged symbol since the 2022 "Women, Life, Freedom" demonstrations that saw women openly defy the security forces and remove their mandatory headscarves. "The women on the screen (in hijabs) are following the most discriminatory law in Iran. People were killed to dismantle it," California-based exiled Iranian film critic Mahshid Zamani told AFP. She helps run the Iranian Independent Filmmakers Association, a collective of 300 exiled Iranian cinema figures which has condemned Roustayi's decision to seek permits and permission. "Roustayi is in the tradition of what the Iranian government has been doing for 40 years: they have been sending out films to the international stage and saying 'look everything is rosy, there is freedom of speech'," she added. "We're not saying the film is a propaganda film. The government is using films like his film as a propaganda tool." Contrast Roustayi's approach stands in stark contrast to that of his compatriot Jafar Panahi, whose latest production "It Was Just An Accident" features several women without headscarves and is also competing for the top prize in Cannes. Panahi is a symbol of defiance, someone who has continued to make films despite receiving a 20-year ban in 2010. He spent nearly seven months behind bars in 2022-2023 and smuggled a copy of a previous film to the Cannes Festival hidden in a cake. "It Was Just An Accident" was shot in secret and tackles political repression and torture head-on, with a story about four ordinary Iranians who believe they have found their jail interrogator. When asked on Wednesday how Iranian filmmakers should approach the censors, Panahi said: "Everyone finds their path, their way of doing things relative to their abilities and knowledge. I don't have any advice to give." He added that, "despite everything, I have always found a way". Another Cannes favourite from Iran, Mohammad Rasoulof, fled the country last year for fear of being jailed for a third time, after making a film about the 2022-2023 protest movement. He has defended Roustayi, telling Variety magazine that there's a "clear distinction between the propaganda films of the Islamic Republic and the films that are made under the constraints of censorship". They were convicted of "spreading lies with the intention of disturbing public opinion".
The Guardian
22-05-2025
- Entertainment
- The Guardian
Woman and Child review – drama of rage and pain in the Iranian marriage market
A strange, sad, sombre movie from Iranian director Saeed Roustaee whose last entry at Cannes was the family drama Leila's Brothers in 2022. This is a story about the randomness of life in the big city, a melodramatic convulsion of grief, rage and pain which has a TV soap feel to its succession of escalating crises. Like Leila's Brothers, it is about the entitlement of Iran's menfolk, and how a man – however shiftless, casual and low-status – can somehow pull rank on a woman in the marriage market. Payman Maadi (from Asghar Farhadi's A Separation) plays Hamid, an ambulance driver in his late 40s with a certain roguish ladies-man charm whose unmarried status raises eyebrows among some of his acquaintances, but who is now engaged to Mahnaz (Parinaz Izadyar). She is a smart, hardworking hospital nurse who is widowed and lives with her sister Mehri (Soha Niasti) and mum (Fereshteh Sadre Orafaee), and her two kids. Teen son Aliyar (Sinan Mohebi) is always in trouble at school and has a breezy way of sweet-talking his mother into forgiving him and younger sister Neda (Arshida Dorostkar). Hamid is not exactly a catch, but behaves implicitly as if Mahnaz's two children mean that he is the one being a saint. He insists that the children are absent from the house when his parents come round, and that all their things are hidden away as Mahnaz's future parents-in-law don't know about them and might stop the marriage. Mahnaz, against her better judgment, parks the children with the grumpy father of her late husband. The meeting with Hamid's parents goes ahead and terrible events are set in train including one which is, perhaps bafflingly, never shown on camera and its perpetrator never shown explaining it or discussing it – though an enigma is possibly the point. Maadi's performance coolly conveys how slippery an individual Hamid is: accustomed to being adored for his supposedly endearing way with a gallant remark, but shrill and self-pitying when challenged on anything. He is running a shabby, corrupt little scam: allowing people to sleep in the ambulances when they are not being used, for an exploitative cash payment. And there are signs that Hamid has a roving eye and he is still (instinctively) hitting on other women. From this tense situation (in which the game is patriarchally rigged against Mahnaz in ways that she couldn't dream of) a catastrophe occurs – in fact a double catastrophe – which sends Mahnaz into a rage-filled confrontation with every single man in her life, including the choleric schoolteacher Mr Samkhanian (Maziar Seyyedi) who expelled Aliyar against his colleague's advice. The tragic and startling events emerge in a movie whose storytelling style is otherwise very low-key, and which gives an almost bizarre and unexpected quality to all the heartbreaking emotional pain; this is the unexpectedness of real life, perhaps. Izadyar's full-throttle performance shows how anguish has made her a kind of ghost, haunting a world that she had hoped to occupy as a modestly contended human being. It is a little overwrought, though carried by the forthright performances. Woman and Child screened at the Cannes film festival.
