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Ravabete khanevadegi
Family Relations
© Nasser Zamidi
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AUTEUR(S)-RÉALISATEUR(S)

Nasser Zamiri

IMAGE

Nasser Zamiri

MONTAGE

Nasser Zamiri, Neda Asadi

PRODUCTION / DIFFUSION

Nasser Zamiri

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Documentary and Experimental Film Center (DEFC)

ISAN : non renseigné - en savoir plus

Pas de résumé français disponible

More than fifty relatives gather on a narrow terrace for a family photo. Right at the start, the director asks those who don’t want to be part of the film to go. Half of them leave the picture. Those who stay have therefore given their consent. What follows is the tragicomic retelling of an Iranian family saga in which everything revolves around the head of the family: “Haji Baba”, the father. They say he’s malicious and interfering. His children and his wife, who left him, raise serious charges, submit a complaint against him. As is so often the case, it is a matter of inheritance. Haji Baba denies everything. But who is right?
In his filmic family constellation, the filmmaker tries to keep his bearings in a jungle of conflicting statements. He does not arrange a direct confrontation between the factions, but gives every family member a stage, using surprising tools and lots of humour. He lovingly presents the outcast, who has a poem to recite or a romantic song to sing for every occasion. Secretly, Haji Baba dreams of fame, which this film will hopefully bring him.
(Annina Wettstein)

More than fifty relatives gather on a narrow terrace for a family photo. Right at the start, the director asks those who don’t want to be part of the film to go. Half of them leave the picture. Those who stay have therefore given their consent. What follows is the tragicomic retelling of an Iranian family saga in which everything revolves around the head of the family: “Haji Baba”, the father. They say he’s malicious and interfering. His children and his wife, who left him, raise serious charges, submit a complaint against him. As is so often the case, it is a matter of inheritance. Haji Baba denies everything. But who is right?
In his filmic family constellation, the filmmaker tries to keep his bearings in a jungle of conflicting statements. He does not arrange a direct confrontation between the factions, but gives every family member a stage, using surprising tools and lots of humour. He lovingly presents the outcast, who has a poem to recite or a romantic song to sing for every occasion. Secretly, Haji Baba dreams of fame, which this film will hopefully bring him.
(Annina Wettstein)

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