Teheran Tabu

A film by Ali Soo­zan­deh.

Ani­ma­ti­on pro­ves a cun­ning tech­ni­cal choice in TEHRAN TABOO, a first fea­ture writ­ten and direc­ted by Ali Soo­zan­deh. Like Mar­ja­ne Satrapi’s 2007 PERSEPOLIS, it offers just enough distan­ce to explo­re the high­ly char­ged the­me of sexu­al and per­so­nal free­dom in Iran wit­hout sala­cious­ness. Women are the main vic­tims here, whe­ther mar­ried, divorced or sin­gle, and their lives are depic­ted as pure tra­ge­dy.
Far from the usu­al vic­timi­zed street­wal­ker, the pro­sti­tu­te Pari in the first epi­so­de embo­dies the truth that no repres­si­ve sys­tem can com­ple­te­ly quell the human spi­rit. There’s some­thing that recalls Anna Magnani’s eart­hi­ness and gre­at heart in Elmi­ra Rafizadeh’s many-hued per­for­mance. Pari’s back­sto­ry is a fai­led mar­ria­ge to a drug addict who is now in pri­son. When she tri­es to get a judge in the Isla­mic Revo­lu­tio­na­ry Court to sign her divorce papers, he bar­ters his signa­tu­re for a con­cu­bi­ne arran­ge­ment. She moves into an apart­ment he owns with litt­le Eli­as, which is not such a bad deal. (Debo­rah Young)

Deutschland/ Öster­reich 2017, 96 Min., far­si OmU
Regie & Buch: Ali Soo­zan­deh
Kame­ra: Mar­tin Gschlacht
Schnitt: Frank Geiger,Andrea Mer­tens
Dar­stel­ler: Elmi­ra Rafiz­adeh, Zar Amir Ebra­hi­mi, Arash Maran­di, Negar Nas­se­ri, Bil­al Yasar, Mor­te­za Tava­ko­li, Ali­re­za Bay­ram, Klaus Ofc­z­a­rek