Director: Avantika Hari Cast: Narinder Samra, Neelam Parmar, Hassani Shapi Land Gold Women stands as the reverse translation to the Urdu phrase Zan Zar Zameen (or its Hindi equivalent Jar Joru Jameen) that has, for ages, been attributed as the root cause for all human problems. Interestingly the film symbolizes the irony on how this doctrine instigates clash of opinions and subsequently also comes to the rescue of its fanatic believers. The film opens in present day London where an Indian Muslim family has been living for years. Nazir Ali Khan (Narinder Samra) who heads the family has been liberal enough in the upbringing of his daughter Saira (Neelam Parmar). Things change when Nazir's elder brother (Hassani Shapi) visits them and Nazir is reminded of their conservative roots, which do not permit Saira's marriage outside their community. And when Saira attempts to elope with her British boyfriend, it leads to an unapologetic case of honour killing by her immediate family members. The film opens with Nazir as an under-trial narrating the entire story in flashback mode to his defense lawyers. With the climax of the film (daughter's death) clearly revealed at the very start, the film, at no instance, aspires to retain any suspense or sensationalism. It purely intends to be a basic human drama on the issue of honour killings. Unlike most other films on honour killings, this one tackles the theme in an urban setting indicating how honour killing isn't restricted to rural frontiers but is a global concern. Rather than mere illiteracy, it is influenced by blind fundamentalist faith. The pace is intentionally slow as director Avantika Hari wants the viewer to sense the tension and impending trauma in the honour killing episode. But with an already revealed climax and without much newness in the screenplay, the narrative takes too long to come to the point and drags despite its short runtime. However what principally works against the film is its tone. Here is a film on extremism which is dealt with utmost subtlety. While it's fairly acceptable that the director opts to steer away from jingoism or any kind of sensationalism (despite an inherent tendency that comes with a subject like this), what's blasphemous is the fact that the film never consciously makes an attempt to raise a voice against honour killings. It merely highlights the radicalism prevalent in the society and leaves it to the viewer's discretion to abhor such occurrences without being strongly vocal against such adversities. With no audible say of its own, one wonders, at times, whether the film is opposing such extremism or endorsing it. The brutality of the crime doesn't shake you much since the film never intended to be provocative and one has seen more ruthless honour killing acts in films like Love Sex aur Dhokha. The regressive attitude of the men in the film towards the women in family is more shocking. But at times, the film seems to have mixed multiple concerns. Honour killings and conservative Muslim household can be two different concerns and correlating the two might not be the best of ideas, leading to a horrendous typecast. Even Pakistani filmmaker Shoaib Mansoor handled both subjects individually in his consecutive cinematic gems Khuda Kay Liye and Bol respectively. Where exactly the film triumphs and gains its individuality is in establishing the hypocrisy in its title concerns. The film shows honour killing as an essential outcome of the androcentric fight to win land-gold-women. Simultaneously the defense lawyer uses land-gold-women as a permissible moral code (taking religious sensitivities into consideration) to file for mercy petition against the life sentence of the murderer father. Like the overall attitude of the film, even the performances are soaked in subtlety. Narinder Samra is absolutely understated in an act that could have easily gone over the top. Hassani Shapi as his fundamentalist brother is vicious though dramatic at times. Neelam Parmar as his daughter is decent. Renu Brindle as the helpless mother is effective. For a film about extremism handled with utmost subtlety, Land Gold Women is significant cinema but with a slightly dilute impact.
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This exhibition coincides with the opening of the historical drama "Woman in Gold," starring Helen Mirren as Adele Bloch-Bauer's niece Maria Altmann, and Ryan Reynolds as lawyer Randol Schoenberg. The Weinstein Company is set to release the film in U.S. theaters on April 3, 2015. The film is based upon the incredible true story of how Altmann, working in collaboration with Schoenberg, successfully sued the Austrian Government for the return of five Klimt paintings seized by the Nazis from the Bloch-Bauer family townhouse in Vienna during World War II.Gustav Klimt (1862-1918) is one of the most important artists of fin-de-siècle Vienna. Trained at Vienna's Kunstgewerbeschule, Klimt began his career in a traditional and historicist style, but quickly emerged as one of Vienna's preeminent modern artists, creating ebullient landscapes, striking portraits, and erotic drawings of women. Klimt was a key figure in Vienna's art scene, and is one whose artistic achievements and mentorship paved the way for painters Oskar Kokoschka and Egon Schiele."Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold" will be displayed on the second floor of the museum and will be comprised of approximately 50 works, including the Adele Bloch-Bauer I, paintings, related drawings, vintage photographs, decorative arts, as well as archival material. The show is organized by Janis Staggs, Associate Director of Curatorial and Publications at Neue Galerie New York. The highlight of this display will be Klimtís stunning 1907 "golden style" portrait of Adele Bloch-Bauer, as well as related sketches prepared during the four years that he worked on this iconic masterpiece. The exhibition will also feature a number of rare photographs of Klimt and material about the Bloch-Bauer family.Adele Bloch-Bauer possesses the rare distinction as the only person Klimt ever painted twice. Following the outcry surrounding Klimt' s most controversial public commission -three faculty paintings that were to be installed in the Great Hall of Vienna University (Philosophy, Medicine, and Jurisprudence, 1900-07)- Klimt withdrew from government projects and focused his energies on private portrait commissions of society women from Vienna's cultural elite.Ferdinand and Adele Bloch-Bauer assembled one of Vienna's most renowned art collections, which included paintings by masters of Vienna's Biedermeier period, modern sculpture, an impressive array of porcelain from the Royal Vienna Porcelain Factory, and a stellar group of works by Klimt, including the two portraits of Adele Bloch-Bauer and also landscapes. The Klimt paintings originally hung in Adele's private apartment in the couple's Vienna home.Klimt's 1907 Portrait of Adele Bloch-Bauer I was acquired for Neue Galerie New York in 2006. At the time of the acquisition, the museum's President and co-founder, Ronald S. Lauder, stated: "With this dazzling painting, Klimt created one of his greatest works of art." During the years that Klimt labored over the commission, he spent time in Ravenna, Italy, where he visited the sixth-century Church of San Vitale. He was deeply impressed by the richly decorated Byzantine mosaics of the Empress Theodora and described them as of "unprecedented splendor." His first portrait of Adele Bloch-Bauer incorporates jewel-like areas that resemble semi-precious stones and layers of lustrous gold and silver.A series of lectures will be held in conjunction with this special exhibition, including presentations by scholar Dr. Alessandra Comini, curator of "Egon Schiele: Portraits"; Anne-Marie O'Connor, author of The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece; and Janis Staggs, curator of "Gustav Klimt and Adele Bloch-Bauer: The Woman in Gold."The Neue Galerie will celebrate Klimt in other parts of the museum as well. Café Sabarsky will feature its special Klimttorte during this period. The Design Shop will offer gold and silver cufflinks designed by Josef Hoffmann for Gustav Klimt, a set produced exclusively for Neue Galerie by First Edition. The Book Store will carry Anne-Marie O'Connor's The Lady in Gold and monographs on Klimt.
Another aspect of the movie which makes you sit down and watch the movie till the end is its amazing edit which brought an award to the movie in Fajr Film Festival. You will see the story carrying on by the view of different people and it continues until you see what has really happened.
One last thing that makes this movie worth watching is the amazing work of actors and the director. The creative Mostafa Kiayee has done a perfect job in choosing actors such as Mahtab Keramati, who has performed one of the best plays of her career, Farhad Aslani and Sahar Dolatshahi who won the award for the best supporting actress in Fajr Film Festival.
People put on a mask when they are up to no good. This is true about the story of this must-watch movie. The movie begins with an accident. The boy, Kamran, falls in love with the girl, Negar, and they get married. After a while, they start arguing and fighting. However, the truth is more than a simple love story.
Nafas (The Breath) is a movie that you can watch several times because of its dreamy atmosphere mixed with the ugly truth of life and the childish story-telling of Bahar, the beautiful little girl of the movie. You will feel like a little child again and experience how children understand everything around them. In addition, you get to see an important decade of Iran in the eyes of an imaginative kid.
The very first Iranian musical movie, inspired by Iranian folk tales and directed by the great Ali Hatami. Hassan Kachal was released in 1970 with the best possible cast and crew such as Parviz Sayyad, Katayoun Amir Ebrahimi, and Esfandiar Monfaredzadeh as the composer, who is one of the best Iranian composers. Hassan the Bald is probably the best old musical Iranian movie that you can watch. It has a wonderful atmosphere in the movie and also you get to know one of the most famous Iranian fairy tales. 2ff7e9595c
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