'The Persian Version' is a smart, joyful film that neither shies away from, nor lingers on, grief.
in the U.S. Dramatic category and garnered writer, director and producer Maryam Keshavarz the Waldo Salt Screenwriting Award. It’s also a film that, as soon as it was over, I wanted to watch again in order to mine the depth of associations and allusions the film layers in its ambitious rendering of a mother and daughter’s intersecting lives. I’ll have to wait, though, until it comes out in theaters;just after the festival.
Keshavarz uses her own life as a starting point: she grew up in an Iranian American family with seven brothers and a mother and father who emigrated from Iran and struggled to make ends meet in 1980s New York City. Like her film’s main character Leila , Keshavarz identifies as gay but became pregnant from a one-night-stand with a man shortly after divorcing her wife.
A fictionalized version of this incident sparks the action for Leila, who is also a filmmaker from an Iranian American family with seven brothers and struggles to connect with her mother, Shirin , who seems to alternate between caustic disappointment in her daughter and an anxious desire for her company. The action plays out around Leila’s father’s heart transplant and resulting recovering, bringing the family together and heightening the emotional turbulence of their interactions.
When Mamanjoon insinuates that a scandal drove Shirin and her husband to emigrate to America, Leila digs deeper, prompting a series of flashbacks to her mothers’ childhood; she was married to Leila’s father at 13 and sent off to live with her new 22-year-old husband in a remote Iranian village where he served as the doctor. In these flashbacks of their life, a young Shirin takes over the narrative, forcing Leila and the audience to perceive her story and choices from her own perspective.
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