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The Day I Became A Woman (2001)
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Reviews Counted:54
Fresh:47
Rotten:7
Average Rating:7.3/10
Consensus: Meshkini has made an excellent contribution to Iranian cinema with this poetic, emotionally poignant film.
Rated: Not Rated
Genre: Dramas
Theatrical Release:Apr 6, 2001 Limited
Synopsis: For her first film, THE DAY I BECAME A WOMAN, Marziyeh Meshkini, the wife of Iran's most prominent filmmaker, Mohsen Makhmalbaf, has crafted a mystical three-part allegorical vision of the... For her first film, THE DAY I BECAME A WOMAN, Marziyeh Meshkini, the wife of Iran's most prominent filmmaker, Mohsen Makhmalbaf, has crafted a mystical three-part allegorical vision of the treacherous cycle in which Iranian women are robbed of their freedom and dignity. In the first episode, a girl is informed on her ninth birthday that she can no longer play with or speak to boys and must begin to wear the traditional head-to-toe black body covering warn by Iranian women. In the second, a young woman feverishly competes in a visually stunning all-female bicycle race while pursued on horseback by her husband, family, and clan members, urging her to return to her responsibilities and duties, and eventually taking her bicycle from her. The protagonist in the final episode is a crippled old woman, lost in delusional fantasies, who hires a young child to assist her in buying all of the things that she lacked throughout her long and difficult life. While the plots are simple, the interweaving visual and conceptual motif of a life cycle of deprivation and humiliation creates a reflexive and elegant elegy to the struggles and poetic dignity of the Iranian woman. [More]
Starring: Fatemeh Cheragh Akhtar, Shabnam Toloui, Azizeh Seddighi
Starring: Fatemeh Cheragh Akhtar, Shabnam Toloui, Azizeh Seddighi
Director: Marzieh Meshkini
Director: Marzieh Meshkini
Screenwriter: Mohsen Makhmalbaf
Studio: The Shooting Gallery
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Reviews for The Day I Became A Woman
[Meshkini] immediately finds the amazing lucidity and emotional strength that have given Iranian cinema a worldwide reputation in the last decade.
Lest you think you're in for a one-note feminist jingle, know that the imagery on display here is thrilling enough to quiet that criticism.
Meshkini communicates a personal vision in terms all women (and certainly many men) can feel deeply.
The three stories reflect how women suffer from repression because of the strict observance of Muslim law.
In the uncluttered directness that distinguishes so many of the most memorable Iranian films, Meshkini's movie takes us into three lives at crucial junctures.
Each of [Meshkini's] stories has the timeless quality of a fable, and each has wisdom and a quiet, stoic sense of defiance in the face of patriarchal tradition.
It may be worth seeing for the final segment alone, which is a real hoot.
A remarkable combination of stark realism and poetic fantasy, providing further evidence of the vibrancy of contemporary Iranian filmmaking.
These three brief but poignant dramas will steal your heart with their unique mix of unvarnished simplicity and metaphoric richness.
An extraordinary film about freedom, the loss of innocence and the pull of life's inescapable social forces.
The sense of cosmic simultaneity [is] the most effective aspect of the film.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| 68% 68% | The Last Station | 12/23 |
| 68% 68% | Sherlock Holmes | 12/25 |
| 50% 50% | It's Complicated | 12/25 |
| 49% 49% | Nine | 12/25 |
| 18% 18% | Alvin and the Chipmunk… | 12/25 |
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