Women Without Men (Zanan-e bedun-e mardan) Reviews

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June 17, 2013
Neshat's images are startling in their sensual immediacy and aesthetic nuance.
October 8, 2010
The images are vivid, their meanings much less so.
July 9, 2010
Its elegiac mood and chiaroscuro beauty are hard to shake.
July 6, 2010
Eloquent film illuminates Iranian history from a female point of view.
July 6, 2010
The script jettisons most of the book's more powerful sections, upping the political angle and inexplicably eliminating motivations that made the strongly feminist story, rich in symbolism, so intriguing.
July 6, 2010
A work of real beauty.
July 6, 2010
The director's use of blatantly artificial devices - characters gliding along the ground, fast-breaking dawns - detaches her film from its strongest sources of turbulence and despair.
July 1, 2010
It's a celebration of women's resilience in the face of absolute patriarchy, an oppression that's felt on personal, cultural, and political levels.
June 16, 2010
It is implacably in favour of women without in any way straining for effect.
June 10, 2010
With this debut feature, the photographer-turned-director Shirin Neshat has made a picture with vision, poetry, sexual frankness and historical sinew.
June 10, 2010
A film that buckles under the weight of a grand ambition becomes a muddied if not entirely missed opportunity.
June 9, 2010
Women without Men is a series of tableaux to which no one brought the vivants.
June 3, 2010
Women Without Men has compelling stretches, but the film's formal concerns overwhelm the storytelling.
May 27, 2010
It seduces us with imagery and metaphor.
May 14, 2010
The film surpasses even Michael Haneke's White Ribbon in the fierce beauty and precision of its cinematography.
May 13, 2010
The movie began life as a series of museum pieces, and it retains the transportive effect of a well-conceived exhibit.
May 13, 2010
Elegant, often moving.
May 12, 2010
Neshat's love for interactive video installations and abiding interest in Islamic feminine identity are evident in her dreamy first feature, a 2009 Venice Film Festival prizewinner that is stronger on beautiful imagery than on narrative flow.
May 12, 2010
Set in a seething 1953 Tehran, this is the kind of film that shouts its plot developments from urgent radio broadcasts.
May 9, 2010
There is no dramatic leap to death, but rather only a tentative embrace of "a new form, a new way," much like Iran's short-lived experiment in democracy.
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