God Gave Us Equality - Now Women Are Determined To Fight For It.God Gave Us Equality - Now Women Are Determined To Fight For It.God Gave Us Equality - Now Women Are Determined To Fight For It.
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This film is a beautiful piece of art. with its gripping visuals, production design and strong performance, it glues you to the screen from the very first frame. It's a deep concept yet has a clear connection that demystifies its complexity. Beautiful performance and remarkable makeup and lighting.
With a rather surrealist tendency interspersed with ideas reminiscent of Maya Deren's Meshes of the Afternoon and Chris Marker's La Jetée, Oorvazi Irani encapsulates the Zoroastrian essence.
A champion-advocate for Universal Civil Code (which was evident in the court scenes of Path of Zarathrushtra), she uses the metaphor of the Goddess Anahita to convey her feelings.
The Persian Avestan Goddess of the water stands for fertility, healing and wisdom. And so in this entrancing experimental film, the actor-filmmaker assumes the role of three separate Parsi women, who have been the bearers of traditional injustice, interchanged through subtle, realistic make-up and costumes.
The allegorical, formalist work is remitted through close-ups where the gliding curtains in the background or the depth of her own cornea conveys the long-lasting diabolical impact of scarring and healing.
One can even draw parallels to Freud's eagle of The Uncanny (1919) in the form of her last story. Arguably, Irani derives inspiration yet delivers a dissimilar stance where the eagle would fly away from the crutches of society. Some distinctive shots echo the influence of Bergman's works like Persona (1966) and Cries and Whispers (1972) such as one where her shadow is split with the receiving image, revealing of the very society where women are meant to be silent observers than active voices.
Yet, from what I've known of Oorvazi Irani's journey, mysticism and folklore have played a key role, starting from her first short Mamaiji (2011). Swaying between the forms of a mini-documentation of her grandmother and a poetic exploration, her first short offered dramatic visuals.
A clock without hands being sun-dryed in a white-room, the fleeting dotted sunlight half-illuminating her grandmother or her swaying hammock made of a quadrangular structure against a white wall as "Mamaiji" talked of a traveller's apple she received.
Oorvazi Irani is very close to her homeland evidently visible in all her characters which are born from folklore: Anahita, Zarathrushta and Zurvan. Her works reflects a land lost in the transience of time and reflects her yearning to reconnect with it.
Filmmaker and actor Oorvazi Irani brings to life a story that attempts to redefine Indian women's identity. The film that plays entirely in a series of closeups is a meditation on image and its correlation with the voyeur. It may seem like a long monologue and narrated story, but in its layers, it holds the invitation to reflect and internalize, thus pressing it to become a dialogue. The filmmakers design every shot carefully and fill it to the brim with symbolic richness - every bit of the frame - colours, elements, light, shadows, sounds and music accompany the words and the performance in a thoughtful, inventive manner. It is a journey within a journey and the style as well as the substance is boldly experimental. Kudos to the entire team for bringing the film to life!
I completely love the cinematography the angles and the way it brings out an amazing essence in itself and Oorvazi you are just fab the way you portrayed and spoken it's amazing.
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