Blogs Crosscuts

Last Chance to Stream Shirin Neshat’s Women Without Men

Walker Film on Demand presents Shirin Neshat’s Women Without Men, streamed to your home computer.  With help from Indiepix, the film can now be streamed live at www.womenwithoutmenfilm.com/walker. For $5.99, anyone in Minnesota, North and South Dakota, Iowa or Wisconsin can stream the film,  they might have missed, or watch it again.  This feature is [...]

Walker Film on Demand presents Shirin Neshat’s Women Without Men, streamed to your home computer.  With help from Indiepix, the film can now be streamed live at www.womenwithoutmenfilm.com/walker. For $5.99, anyone in Minnesota, North and South Dakota, Iowa or Wisconsin can stream the film,  they might have missed, or watch it again.  This feature is available through June 30th.

The after-screening discussion with director Shirin Neshat and Co-Director Shoja Azari is also posted here, on the Walker Channel.

[youtube]http://www.youtube.com/watch?v=0CGxQlcrlYw[/youtube]

Shirin Neshat’s staggering film showed at the Walker on Friday, April 16th and Saturday April 17th to sold out audiences.

Description by Sara Saljoughi:

Women Without Men — Neshat’s first feature film — is an adaptation of Iranian novelist Shahrnush Parsipur’s novel by the same title.  Neshat’s fascination with Parsipur’s novel and her own exploration of the literary work’s intrinsic visual qualities were evident in her Zarin Series (2005), a collection of photographs inspired by one of the novel and film’s main characters, Zarin.  Women without Men hones in on the life of four women – Zarin, Faezeh, Munis and Fakhri – in one of the most politically tumultuous times in modern Iranian history, the 1953 CIA-backed coup against Prime Minister Mohammad Mossadegh.

Neshat’s adaptation of Parsipur’s novel manages to perform a striking interpretation of the written work’s elements of magical realism.

The film’s muted palette, which is at moments reminiscent of Kodachrome photographs, takes us away from “realism,” something which has almost come to be expected from Iranian filmmakers, into a world that is seemingly discordant with the one we know, both in the realm of the physical and the emotive.

Apichatpong Weerasethakul Wins Palme d’Or at Cannes

Six years ago, while the Walker was still under construction, a little-known Thai filmmaker was brought to the Minneapolis College of Art and Design for a Walker Film/Video Regis Dialogue and Film Retrospective.  Apichatpong “Joe” Weerasethakul (A-pich-at-pong Wair-a-seth-ical) is a director who has always blended truth and fiction, split narratives and characters in two. It [...]

Six years ago, while the Walker was still under construction, a little-known Thai filmmaker was brought to the Minneapolis College of Art and Design for a Walker Film/Video Regis Dialogue and Film Retrospective.  Apichatpong “Joe” Weerasethakul (A-pich-at-pong Wair-a-seth-ical) is a director who has always blended truth and fiction, split narratives and characters in two.

It is what we do. We always repeat things. When we fall in love, it’s always the same. And when we think about something, we always keep thinking.

–Apichatpong Weerasethakul, Interview with Reverse Shot, 2007

His filmic past is littered with bifurcated films.  From one of his earliest films, Mysterious Object at Noon, Weerasethakul has baan fascinated by the blurred line between truth and fiction.  In this “exquisite corpse” documentary, the filmmaker meandered across thailand collecting stories and building onto a narrative shaped by all of the people he met.  A film that is equal parts documentary and rambling ungrounded narrative, Mysterious Object at Noon gets to the heart of Weerasethakul’s fascination with duality.

His newest film, Uncle Boonmee Who Can Recall His Past Lives, has won the Palme d’Or at this year’s Cannes film festival.  Set in Isan, Thailand’s northeast region and Weerasethakul’s childhood home, the film centers on the last days of its title character.  His contemplation focuses not only on remembering his past, and his past lives, but also on how those lives might have affected his current incarnation.  “My idea is to represent the belief of transmigration of the soul,” explains Weersethakul.  So, like the director’s stylistic choices, Uncle Boonmee is forced to repeat–to repat the memories of his past lives.  Check out the trailer below, and keep your eyes peeled for more Apichatpong Weersethakul here at the Walker.

[youtube]http://www.youtube.com/watch?v=Jk-EoUb0nvg[/youtube]