Zanan-e bedun-e mardan

In a way, it does what it says on the tin: it's a movie about women who escape the -- always suppressive -- men in their life. In Iran in the 1950ies. There is a woman whose brother is trying to force her into marriage, a prostitute, the ageing wife of a general, a girl in love with an orthodox Muslim. All suffer ignominy from men without really engaging them or even fighting back. They eventually all retreat into a surreal orchard owned by the general's wife. At the same time we get to witness a bit of the political upheavals of the 1954 CIA-sponsored coup against the democratically-elected prime minister Mossadeq.

Director Shirin Neshat was born in Iran and left as a young woman as a result of the 1979 Islamic revolution; so she knows both Iran and the West. Here she is able to employ her expertise as a video artist in some scenes, which give the film a unique visual style (for example there is a "still" scene where the people seem to be both frozen as well as slightly moving).

What I didn't like about this movie is that it always stays on the political surface. We notice that there is a revolution going on, but we don't get to see any historic context -- by way of saying "sit up and listen, USA, this is how you fecked up Iran in a big way". Communists as well as loyal supporters of the Shah somehow seem to be equally opposing "the system". I also didn't like how women are portrayed as helpless victims of one-dimensionally evil men.

Great story, being a Persian, I always heard about the Coup but I could never picture how was it like living at that time, and Shirin Neshat in the best way possible combined it with a love story. Munes wants to be knowledgeable about social and sexual matters (in the film she wants to be a political activist); Faezeh is a traditional Muslim woman who wants a good marriage; Zarin Kolah is a prostitute dreaming of a better future, and Farok-Lagha is a wealthy woman determined to become an influential figure on the political scene. All four end up in a house with a garden in a Tehran suburb, striving for a future that was not granted to them. Gardens are popular in the middle East and especially in Iran, where a garden is a metaphor for paradise.

More of a visual impressionist than storyteller, Shirin Neshat uses the thread of magic-realism to weave together vignettes of five besieged Iranian women. The film beautifully depicts the early fifties era in Iran, during the Mohammad Reza Shah Pahlavi coup and rebellion against American-British usurpation. Men fare badly in this feature, with maybe one silent gardener playing a benign male role. Neshat has a gifted eye, so check out the extra features for her detail-rich explanations of film nuancing. AfroPixFlix finds 8 fig-forks for this film-festival feature.Women Without Men (Zanan-e bedun-e mardan) 2009; 91 mins Directors: Shirin Neshat, Shoja Azari Writers: Shoja Azari, Shirin Neshat

This was a highly ambitious Iranian film following the lives of several women in 1950s Iran. It may be of interest to American viewers in that the backdrop to the movie is the 1953 coup, where the CIA, in support of an absolute monarch (the Shah), helped overthrow a democratically elected government. That assumes that anyone is still interested in finding out "why the world hates America", I think it's become passé to ruminate on that now. But if you flick CNN on and see the latest wranglings with Iran, well here is where the story started, it's a good idea not to start reading at chapter 56.

The main focus of the film though is the treatment of several Iranian women by the society in which they live, and their retreat to a magical garden without men. It's an awesomely ambitious adaptation of a famous novel of the same name by Shahrnush Parsipur (who has a cameo appearance as the brothel madam). It's not particularly successful, I don't like saying that, but I think even Shirin Neshat, who was present for the screening was not happy with the finished article, which took a very long time to film. She has simply tried to weave too many strands. The most successful story perhaps is of the young prostitute Zarin, who is anorexic and actually played very well by a Hungarian actress, Orsolya Tóth. It's no surprise to me that Neshat actually made a 20 minute short starring the same actress in 2005 called Zarin, which was very well received.

In the Women Without Men, Zarin, who runs away from a brothel is seen furiously rubbing her body raw in some public baths. She speaks not a single word in the whole movie, and that is the most effective condemnation of the society she lives in.

We can see some of the terrible attitudes prevailing then and perhaps now as well about women. Amir Khan (played very ably by Essa Zahir) at one point approaches one of the women (Faezeh played by Pegah Ferydoni) and gives her this line about how women are flowers who blossom and then wither. He then asks her to become his second wife; his first wife, who has withered, will "of course" become her servant. Khan has absolutely no idea of the level of misogyny he's communicating. One of the women is a general's wife, her husband ends an incredibly oafish rant with an order for her to come and eat some melon because he wants her to. In the movie we see a distillation of the unfortunate insensitivities to which a group of Iranian women have been subjected. It's important to note that it would be an overreaction to condemn Iranian male society en masse.

It's a very beautiful movie, the garden of the villa that the general's wife sets herself up in after a very scandalous separation, is really very magical and shot wondrously. I was worried that the movie was getting a bit lost in it's quest for aesthetic perfection, and thusly becomes almost soporific. The stories of the different women became a bit cacophonic, there was no unison message. It's got to be pretty unbalanced as well, men are almost uniformly comedy sketch buffoons, the women martyrs.

The director Shirin Neshat has in "Zanan-e bedun-e mardan", made a visually stunning and important film, with a lot of good acting performances. Especially by Pegah Ferydoni(as Faezeh), and Arita Shahrzad (as Farrokhlagha). When you walk out of the cinema after having watched this movie, the real world will for a time seem a bit more colorless and unreal.

With the military coup of the Shah of Iran in 1953 as a background, four women find out the price for freedom. And through them, the audience find out the price and value of freedom for themselves. The film also draws the historical lines between the democratic Iran of the early 1950s, and the "Green movement" of today.