#maryam moghaddam

[oldfilmsflicker]

new-to-me #512 - My Favourite Cake

[dustedmagazine]

Listed: IMustBe Leonardo

IMustBe Leonardo is a Berlin-based songwriter who has been making his oddball songs since around 2016. His latest album, Not To Be Scared of Weekend, is a self-recorded delight, entirely unfettered by commercial considerations — with one song that asks the eternal question, “Why should...you need god…when you have Kim Gordon?” Writing about it, Jennifer Kelly said, “About half the tracks are hand-made rock songs, bolstered by clicky drum tracks and ravaged guitar tones. The other half are the maddest, most surreal campfire songs you ever heard, gently strummed but extremely odd.” Leonardo wrote us one of the nicest — and longest — thank you notes we’ve ever received at Dusted, so of course we asked him for a Listed.

Nina Simone — An Artist's Duty

What she says in these 51 seconds, the way she asks that question at the end — everything is there.

Typhoon — Sympathetic Magic

This album was released in January 2021. Kyle Morton is a poet and a great songwriter. His notes to the album tell all you need to know: “The songs are about people — the space between them and the ordinary, miraculous things that happen there, as we come into contact, imitate each other, leave our marks, lose touch. Being self and other somehow amounting to the same thing.” He played a solo gig in Berlin, on June 17, 2023. I asked him to play my favorite song, “And So What If You Were Right.” He did it. He said it was the first time he played it in public. That was a gift.

Maryam Moghaddam and Behtash Sanaeeha — Ballad Of A White Cow

There is almost only love in this movie, and all that love leads only to suffering. It terrifies me to see how often “doing the right thing” and well-intended lies destroy good people’s lives.

Emma Ruth Rundle — Engine of Hell

This album is a pulsing heart in the shape of a songwriter sitting in front of us, playing piano or classical guitar, and singing her story. “I wanted to be close to the listener and be whispering to you. I wanted to be close on an emotional level. Because I wanted to connect with myself on an emotional level, ” she said about this record. It takes courage to do this. It also takes a little bit of courage to stay in front of her and look at her fragile, invincible grace. Sonny Diperri, who recorded and produced this terrific record, is a great sound engineer and a lucky guy.

Christian Petzold — Undine

Art is proof that people can find infinite ways to create beauty, as long as they believe they truly need to love. Undine is a work of art. It not only is a truly original, touching movie about love. It is an act of love, made by people who can’t stand living in a society willing to humiliate and lose it.

Vic Chesnutt — At The Cut

Maybe one day our species will ignore what anguish is, and we will not even be allowed to mention the word. Someone will consider this “progress.” I don't see any progress in not feeling moved by what Vic Chesnutt — and every person involved in those sessions — did in this album.

Aki Kaurismaki — Ariel

I love Kaurismaki's cinema. I’m mentioning Ariel here just because it is probably my favorite... today. (For the record, it contains the best bank robbery scene in the film history.) If I ask myself why I love his movies so much, one reason I can put into words is that all his characters are condemned to the tragic and funny punishment of knowing what truly makes human beings happy. They are such stuff as the Tramp is made on.

This Mortal Coil — Blood

I put this album in my CD player recently, after several years, and started listening to it with the state of mind of someone who’s going to meet an ex-lover and is scared of not feeling anything. I was wrong. It still asks me the same beautiful question: “Did you really think you knew which kind of songs you like?”

Hirokazu Kore-eda — Shoplifters

I see Kore-eda as a sort of photo reporter who goes around and, almost by mistake, takes poetic pictures of fragments of happiness that — tomorrow — will not be there anymore. Laws were supposed to be instruments by which people pursued well-being. This movie shows how society rules are sometimes not ready to handle real life. They can end up killing what they should preserve, and it looks like a frighteningly stupid scenario.

New Pollution — Kiss The System

New Pollution is not just a band — it’s a no-filter attitude. They're the most contemporary group I know. I cannot imagine someone attending a New Pollution gig and not getting captured. There is spontaneity and freedom in everything they do — on stage and online. They keep releasing whatever they record (concerts, demos, soundtracks, studio sessions) and mocking all the show business rules. Nowadays musicians — indie ones more than others — are like bank clerks, each one with their daily plans: x hours of social media, x hours emails to labels, x hours emails to magazines... Music seems to be the last thing you should care about — and you're supposed to be a musician! New Pollution they don't care. “Revolution was your spare time,” they sing. I think Patrick Jessop has an instinctive awareness of how ephemeral existence is and I hope he never loses it.

[warningsine]

what are some good iranian films? i've seen persepolis and a girl walks home alone at night

This is such a vast question, because Iranian cinema is heterogenuous and huge.

From Ali Hatami to Khosrow Sinai (In the Alleys of Love) to Hajir Darioush (Serpent's Skin) to Abbas Kiarostami (Where Is the Friend's Home?) and Jafar Panahi (The Circle) to Asghar Farhadi (A Separation, The Salesman).

But seems like you are interested in works by women directors?

The House is Black (Directed by Forugh Farrokhzad who was also a poet)

Divorce Iranian Style (1998, Kim Longinotto & Ziba Mir-Hosseini)

Two Women (1999, Tahmineh Milani)

Daughters of the Sun (2000, Mariam Shahriar)

The Day I Became a Woman (2000, Marzieh Meshkini)

The Hidden Half (2001 , Tahmineh Milani)

Women's Prison (2002, Directed by Manijeh Hekmat)

Joy of Madness (2003, Hana Makhmalbaf)

The Fifth Reaction (2003, Tahmineh Milani)

Women Without Shadows (2003, Mahnaz Mohammadi)

Gilaneh (2004, Rakhshān Banietemad)

One Night (2005, Niki Karimi)

Cease Fire (2006, Tahmineh Milani)

On a Friday Afternoon (2006, Mona Zandi Haghighi)

Buddha Collapsed out of Shame (2007, Hana Makhmalbaf)

Three Women (2008, Directed by Manijeh Hekmat)

Travelogue (2008, Mahnaz Mohammadi)

We Are Half the Iran's Population (2009, Mahnaz Mohammadi)

Green Days (2009, Hana Makhmalbaf)

Tehran Without Permission (2009, Sepideh Farsi)

The City trilogy (Rakhshān Banietemad)

From Tehran to London (2012, Mania Akbari)

Hush! Girls Don't Scream (2013, Pouran Derakhshandeh)

Tales (2014, Rakhshān Banietemad)

Disappearance (2017, Farnoosh Samadi)

Silence (2017, Maryam Pirband)

The Invincible Diplomacy of Mr. Naderi (2018, Maryam Moghaddam)

16 Women from Teheran (2018, Bahar Ebrahim)

The Old Road (2018, Manijeh Hekmat)

When the Moon Was Full (2019, Narges Abyar)

African Violet (2019, Mona Zandi Haghighi)

Son-Mother (2019, Mahnaz Mohammadi)

180° Rule (2020, Farnoosh Samadi)

I Am Trying to Remember (2021, Pegah Ahangarani)

The Football Aficionado (2022, Sharmin Mojtahedzadeh & Paliz Khoshdel)

1001 Nights Apart (2022, Sarvnaz Alambeigi)

Colonel Soraya (2023, Leili Aaj)

Where Is the Friend's Home? (Short 2023, Amina Maher)

[hotnew-pt]

“O Perdão” em exibição no atmosfera m Lisboa #ÚltimasNotícias #lisboa

Hot News Não perca a exibição do filme iraniano “O Perdão” (Ballad of a White Cow) dos realizadores Behtash Sanaeeha e Maryam Moghaddam (Irão, França, 2020), com Maryam Moghaddam, Alireza Sani Far e Pouria Rahimi Sam. Um retrato poderoso de uma mulher na sociedade iraniana atual e que foi selecionado para a Berlinale (Festival Internacional de Cinema de Berlim), Tribeca Film Festival e Stockholm…

[abcexpresspk]

Meeting of Iranian Ambassador Dr. Raza Amiri Moghaddam with Maryam Nawaz and Nawaz Sharif, agreement - ...

[lemagcinema]

My Favourite Cake de Behtash Sanaeeha ,Maryam Moghaddam

Un film de Behtash Sanaeeha ,Maryam Moghaddam

Retrouvez l'article complet ici https://lemagcinema.fr/microcritique/my-favourite-cake-de-behtash-sanaeeha-maryam-moghaddam/

[sszeemedia]

Berlinale Film Festival shocked as Iranian filmmakers face travel restrictions

The Berlinale Film Festival issued a statement after learning that Iranian writers/directors Maryam Moghaddam and Behtash Sanaeeha have been banned from travelling, have had their passports confiscated, and face a court trial concerning their work as artists and filmmakers. “The Berlinale is a festival fundamentally committed to freedom of speech, freedom of expression and freedom of the arts,…

[moviemosaics]

Ballad of a White Cow

directed by Behtash Sanaeeha and Maryam Moghadam, 2020

[penelopedavilla]

Ballade von der weißen Kuh (2020)

[deprotagonisten]

Ballad of a White Cow

Recensie Ballad of a White Cow ★★1/2 - vanaf 1-11 te zien op @LeidenIFF en @PAFF en vanaf 4-11 in de bioscoop Het einde zorgt voor de aangename verrassing. Gelukkig maar, want deze film is, los van het fraaie camerawerk, traag en saaiig.

De dramafilm Ballad of a White Cow gaat over Mina, wiens man onterecht is geëxecuteerd. Ze gaat de strijd aan, met behulp van een oude vriend van haar man. Of is het toch iemand anders? Wat wij van Ballad of a White Cow vinden, lees je in onze recensie. (more…)

[kristenswig]

#160. Ballad of a White Cow - Behtash Sanaeeha & Maryam Moghaddam

3/5

[jochenhayek]

Kino-Film: Ballade von der weißen Kuh

Kino-Film: Ballade von der weißen Kuh

https://de.wikipedia.org/wiki/Ballade_von_der_weißen_Kuhhttps://yorck.de/filme/ballade-von-der-weissen-kuh … ein iranisch-französischer Spielfilm von Behtash Sanaeeha und Maryam Moghaddam aus dem Jahr 2021. Das Drama hinterfragt kritisch das iranische Justizsystem am Beispiel einer jungen Witwe (…), deren Ehemann unschuldig zum Tode verurteilt wurde. … aufgrund eines falschen Vergeltungsurteils…

[dclblog]

Ballade von der weißen Kuh (O-Ton)...

...schildert in virtuosen Bildern die Geschichte einer iranischen Frau, deren Mann unschuldigerweise hingerichtet wurde und welche sich zögernd in einen vermeintlichen Freund der Familie verliebt, ohne zu ahnen, dass es in Wahrheit der von Gewissensbissen geplagte Richter ist, der ein Jahr zuvor das Todesurteil beschloss.

Dass dabei die Themen Schuld und Sühne sowie eine klar formulierte Abrechnung mit der Todesstrafe tief in die DNA dieses Filmes verwoben sind, ist natürlich nicht wirklich überraschend. Doch "Ballade von der weißen Kuh", dessen fantastische Hauptdarstellerin Maryam Moghaddam hier zugleich zur Hälfte für die Regie verantwortlich war, versteht es, auch die Momente, die klar politische Positionen beziehen, immer mit toll gespieltem menschlichen Drama zu verweben, so dass es sich nie wie ein gut gemeinter Lehrfilm und durchgehend wie ganz großes Kammerspiel anfühlt.

Zudem schafft es dieser wunderbare Film, einerseits behutsamer und andererseits gerade auch im finalen Akt kompromissloser zu sein als sein US-amerikanischer Bruder im Geiste "Monsters Ball" und diesen somit in meinen Augen sowohl handwerklich als auch inhaltlich zu übertreffen.

Aufwühlendes, tief bewegendes, packendes Drama. Große Sehempfehlung.

D.C.L.

[why-munich]

Over 100 000 visitors – ZFF is the #1 Film Festival in Switzerland

Zurich, October 3, 2021

The 17th Zurich Film Festival, which ends this Sunday evening, continues to grow, with 50 percent more visitors than last year. Welcoming more than 102’000 visitors, it is the largest festival in Switzerland for the second time in a row. Hollywood icon Sharon Stone was delighted, as were auteur filmmakers Paolo Sorrentino and Paul Schrader, to once again be able to make personal contact with the audience. In addition, NO TIME TO DIE, the most highly anticipated film in years, was launched during the ZFF, and numerous up-and-coming directors presented their debut works as world premieres.

The 17th Zurich Film Festival (ZFF) is thrilled with the outcome of its purely physical edition, which took place with a full programme of 164 films from 53 countries. 102’000 visitors came to the ZFF, that figure was 68’000 in 2020, making it the most visited film festival in Switzerland twice in a row.  

“Our expectations were far exceeded,” said Festival Director Christian Jungen. “The last few days have impressively shown that people are once again in the mood for cinema and shared common experiences. The mood was positive right from the start and many international guests were touched because they were able to present their films to a real audience for the first time.”

The new venue in the Zurich Convention Center, Switzerland's largest cinema, has contributed to the growth. Yesterday Saturday alone, four performances there were sold out with 1300 spectators each. A total of 67 screenings were sold out, with the festival recording the greatest growth in attendance in the three competitions for the Golden Eye. “We have succeeded in winning a loyal, cinéphile audience, which is prepared to engage with demanding works and also attends afternoon screenings in increasing numbers,” explains Christian Jungen.

Among the guests the ZFF had the pleasure of welcoming were such auteur filmmakers of international standing as Jacques Audiard, Todd Haynes, Paolo Sorrentino and Paul Schrader, character actresses like Cécile de France and veteran star Timothy Spall, the Oscar-winning composer Mychael Danna and Sharon Stone, who was honoured with the Golden Icon Award. The Hollywood star was delighted beyond measure and described the award as “simply the greatest honour of my career”.  

As part of the glamorous Award Night, the Golden Eyes, each endowed with a 25,000 Swiss franc cash prize, were presented to the winners of the three competition categories yesterday evening at the Zurich Opera House. The Golden Eye in the Focus Competition went to the Swiss film LA MIF by Fred Baillif. For his authentic social drama set in a home for girls, the director worked with actual residents who co-wrote the script, improvised and delivered impressively uninhibited performances. A Special Mention went to the German documentary BEHIND THE HEADLINES / HINTER DEN SCHLAGZEILEN by Daniel Andreas Sager.   The Golden Eye in the Feature Film Competition went to A CHIARA by the Italian-American director Jonas Carpignano. In this neorealist mafia and family drama, 15-year-old Chiara discovers her father's criminal involvement and delves deep into the milieu of the Calabrian 'Ndrangheta in search of answers. The jury, presided over by actor Daniel Brühl, gave Special Mentions to the American drama JOCKEY by Clint Bentley and the Iranian-French production BALLAD OF A WHITE COW / GHASIDEYEH GAVE SEFID by Behtash Sanaeeha and Maryam Moghaddam. LIFE OF IVANNA / ZHIZN IVANNY by the Russian-based director Renato Borrayo Serrano won the Golden Eye in the Documentary Film Competition. The doc follows a tough 26-year-old tundra nomad over the course of four years to show her fascinating yet equally harsh reality, and highlights her struggle for the survival of her family. A Special Mention went to the French-Belgian documentary SOY LIBRE by Laure Portier and the Swedish-produced film SABAYA by Hogir Hirori about female IS slaves. Strong Swiss Presence In addition to the festival’s guest country, Tunisia, Swiss film also enjoyed a strong presence. A total of 22 home-grown productions were screened, including the Taliban thriller AND TOMORROW WE WILL BE DEAD / UND MORGEN SEID IHR TOT by Michael Steiner, which opened the festival. Leaving a lasting impression in particular were filmmakers from western Switzerland, including Andreas Fontana, who won the Critics’ Jury’s Emerging Swiss Talent Award for his debut AZOR, and Fred Baillif, whose drama LA MIF won the Focus Competition. The Zurich Film Festival also screened two documentary films about renowned Swiss artist personalities as World Premieres: Erich Schmid’s ADOLF MUSCHG – DER ANDERE and Nathalie David’s HARALD NAEGELI – DER SPRAYER VON ZÜRICH. The Zurich Summit, which took place last weekend at the Dolder Grand, was also a great success. Leaders from the global film industry met to discuss the challenges facing the film industry. Among the participants was Pamela Abdy, the Game Changer Award-winning President of the legendary studio Metro-Goldwyn-Mayer's Motion Picture Group. The Chairman of MGM, Michael de Luca, was also present, as was Roeg Sutherland from CAA Media Finance. Daiva I. Petrosiene