Ali Soozandeh's unflinching exploration of the inherent sexism present in Iranian society...
Director: Ali Soozandeh
Starring: Farhad Abadinejad, Jasmina Ali, Rozita Assadollahy
Running time: 96 mins
An unsparing exposure of the double standards apparent in modern Iranian society, Tehran Taboo focuses particularly on the challenges facing women attempting to exist within its cultural framework. Viewing is an uncomfortable, edgy experience possibly because we are so unused to the overt criticism of the politics and culture of this society offered unremittingly by the director.
The narrative weaves around three spunky, defiant women and a male musician who find themselves caught up in the unfairness of the society in which they live. However, perhaps more optimistically, the film explores their ways of coping and existing within this society. The block of flats in which they live centralises the characters and maybe suggests a microcosm of Tehran’s society giving a voice to those people who do not wish to make a stand against the regime. It is through the protagonists’ individual stories that key injustices are exposed.
The director methodically attacks the corruption of the judiciary, the police and the strict religious laws which are subverted to suit those in power and more especially, men. The frustrations of confronting this power are seen as a challenge to the women, but also show the creative ways in which they defy the regime. The female characters are engaging and worthy of our support. They are tough, they wish to survive and show resilience and strength in supporting each other; they are people you would like to know. The prostitute is particularly canny and manipulative. Watch out for her pout!
The only way in which a film covering such controversial subject matter could have been produced
Chillingly, the ever-watchful eyes of the Ayatollah are used as a recurring motif throughout the film reminding us of the presence and unchallenged power of this patriarchal autocracy. Perhaps rather sadly the mute boy too is seen as being ever watchful and all knowing but is unable to react because of his disability. He is forced to accept life’s course together with the majority of the population.
The film has been shot using the technique of animation through rotoscope, possibly the only way in which a film covering such controversial subject matter could have been produced. It is almost as though the actors hide behind this overlaying technique for self-protection. The city scopes of Tehran are used as a reminder of the outward normality of this modern city. Its beauty and its culture are foregrounded and yet behind this façade lies subterfuge and moral corruption. Bursts of colour are used as an unexpected, occasional relief offsetting the usual palette of grime and dinginess against which most of the film is shot.
Tehran Taboo has generally been well received and particularly applauded for its boldness of subject matter. Perhaps the only criticism might be the lack of nuance in the film and the overworked and obvious motifs. However, it's well worth watching.
Did you know? Director Ali Soozandeh has said that the inspiration for the film came from a conversation he overheard between two young Iranians on a train concerning their experiences with women in Iran.
Tehran Taboo is screening at Broadway Cinema until Thursday 11 October
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