Prior to our screening of Shirin, film scholar Sara Saljoughi discusses the role of women in Kiarostami’s oeuvre and the film’s confrontation with “the look” in post-revolutionary Iranian cinema.
Paring Kiarostami’s method to a hypnotic minimal, the radical and enrapturing Shirin consists of 113 close-ups of women (some famous, many not) intently watching a film.
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