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There would have never been the Islamic revolution had it not been for the coup d’etat in 1953. And the way in which the American government has again and again systematically dismantled governments and then abandoned them to total chaos and civil war. My first film, Woman Without Men, was focused on 1953, the U.S. Your film is set in the future and deals with U.S.-Iranian history, but watching it I couldn’t help think about the current situation in Afghanistan.
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Neshat spoke with The Hollywood Reporter about the parallels between her movie and current events in Afghanistan, the power of art to resist tyranny and why she still believes in the American dream. Census Bureau.Beta Cinema is handling international sales at the virtual AFM. Vand (the girl in A Girl Walks Home at Night) plays Simin, an Iranian-American charged with recording citizens’ dreams for the mysteriously nefarious U.S. The film version of Land of Dreams, which Neshat co-directed with her Women Without Men collaborator Shoja Azari from a screenplay by late French writer Jean-Claude Carrière ( The Unbearable Lightness of Being), is set in the near future and is a combination political satire and sci-fi dystopia. The result was a portrait of Trump-era America. The film, starring Sheila Vand, Matt Dillon, Anna Gunn, William Moseley and Isabella Rossellini, sprung from Neshat’s 2019 art project of the same name, in which she photographed 111 Americans across New Mexico and interviewed them about their dreams. With Land of Dreams, her second feature film, Neshat turns her lens on her adopted country.
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With such acclaimed photographic series as Women of Allah (1993–97) or Women Without Men - her debut film as a director, which won the Sliver Lion for best director in Venice in 2009 - Neshat has been sharply critical of the current fundamentalist Islamic regime in Tehran, contrasting it with the liberal, pre-Revolution Iran she was raised in.Īdele Gets a 'Steal' on Sylvester Stallone's Beverly Park Mansion when she was 17, but the bulk of her work has been focused on her home country. For some 30 years now, Iranian-American artist Shirin Neshat has been using her work to address the big subjects: religion, human rights, questions of gender, identity and the intersection of public life and private life.īorn in Iran, Neshat immigrated to the U.S.