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Topic: Samira Makhmalbaf

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	{musicalbear ~ film} review > samira makhmalbaf > at five in the afternoon (Site not responding. Last check: 2007-10-13)
		daughter of one of iran’s most successful directors, samira makhmalbaf has become an important figure in asian cinema in her own right, being well placed to document the changes faced by women in islamic societies undergoing radical political upheaval.
		samira contributed a segment called ‘god, construction and destruction’ to 11’09”01 — september 11 (2002), and since then has released a film dealing with the position of afghan women immediately after the fall of the taliban — at five in the afternoon.
		the symbols that samira uses to signify her desires and her obstacles are simple, such as the white high-heeled shoes that nogreh has to change into at her school; these represent both a radical feminine opposition to patriarchy and an acceptance of some (but by no means all) western cultural trends.
	www.musicalbear.com /film/review/at_five_in_the_afternoon (510 words)

	Samira Makhmalbaf - Wikipedia, the free encyclopedia
		Samira Makhmalbaf (born February 15, 1980, Tehran) is an Iranian filmmaker, the daughter of Mohsen Makhmalbaf, the famous film director and writer.
		In 1999, Samira made her second feature film, entitled The Blackboard and for the second time participated in the competition section of the Cannes Film Festival as the youngest director in the world, in 2000, this time winning the jury prize.
		Samira also directed a movie while living in Kabul called At Five in the Afternoon.
	en.wikipedia.org /wiki/Samira_Makhmalbaf (347 words)

	Samira Makhmalbaf - Encyclopedia.WorldSearch (Site not responding. Last check: 2007-10-13)
		Samira Makhmalbaf (born February 15, 1980, Tehran) is an Iranian filmmaker, the daughter of Mohsen Makhmalbaf, the creative and famous film director and writer.
		The Apple by Samira Makhmalbaf has been invited to more than 100 international film festivals in a period of two years, while going to the screen in more than 30 countries.
		In 1999, Samira made her second feature film by the title “The Blackboard” and second time participated in the competition section of the Cannes Film Festival as the youngest director in the world, in 2000.
	encyclopedia.worldsearch.com /samira_makhmalbaf.htm (396 words)

	Mohesen Makhmalbaf (Site not responding. Last check: 2007-10-13)
		This is a compilation of many thoughts Mohesen Makhmalbaf shared in our conversation about his journey from an activist to a film maker, about his distinctive film making style, about media, education, politics and his going back from a film maker to activist which is a journey he takes very often.
		Samira was in school and she was frustrated by the education they give in Iranian schools.
		Samira was sick of that kind of education and a few times she even tried to kill herself.
	www.chaosmag.net /makhmalbaf_interview.html (2593 words)

	Samira Makhmalbaf - Wikipedia
		Samira Makhmalbaf (persisch: سمیرا مخملباف [sæmiːˈrɔː mæxmælˈbɔːf]; * 15.
		Sie ist eine Tochter des iranischen Autorenfilmers Mohsen Makhmalbaf.
		Sowohl für "Die Schwarze Tafel" (auch: Schwarze Tafeln) als auch für "Fünf Uhr am Nachmittag" schrieb Samira Makhmalbaf auch selbst das Drehbuch.
	de.wikipedia.org /wiki/Samira_Makhmalbaf (255 words)

	Guardian Unlimited Film \| Interviews \| A woman's place (Site not responding. Last check: 2007-10-13)
		Samira Makhmalbaf tells a poignant but instructive story about her first visit to Kabul after the fall of the Taliban.
		Samira likens Afghanistan to a prison in which captor (father) and captive (daughter) are mutually dependent.
		Makhmalbaf's 14-year-old sister Hana (who once, during her time in Kabul, was almost kidnapped) has made a documentary, The Joy of Madness, about the shooting of the film.
	film.guardian.co.uk /interview/interviewpages/0,6737,959184,00.html (1000 words)

	Film \| Keep it in the family (Site not responding. Last check: 2007-10-13)
		Makhmalbaf remortgaged his home to finance the school and the making of his 1996 film, A Moment of Innocence, in which he appears with the policeman he stabbed in his youth, who turned up one day asking to be in one of his films.
		Samira lived with the Kurds while location-seeking and evolving her screenplay and filmed for three months ('without even calling home') in the hostile natural terrain which also hides postwar land mines.
		Samira, while largely conforming to dress codes, wears a fl scarf wound around her head and tucked subversively behind her ears in place of a hijab.
	film.guardian.co.uk /print/0,3858,4103016-3181,00.html (1486 words)

	The Films of Mohsen Makhmalbaf (Site not responding. Last check: 2007-10-13)
		Makhmalbaf was born in Tehran in 1957, and Golmakani shows him visiting his old home where Makhmalbaf relates the story of his youth.
		Makhmalbaf became such a stern fundamentalist that due to the religious intolerance of music at the time, he would cover his ears when passing music stores.
		Makhmalbaf also over-indulges in surrealism, but he does manage many memorable scenes – an opening landscape shot worthy of Andrei Tarkovsky, a slow-motion storm of leaves, a cow and a man half-buried in film stock, a montage of movie embraces, and a spoof of his own film, The Cyclist.
	www.culturevulture.net /Movies2/MohsenMakhmalbaf.htm (1149 words)

	FilmFestivals . com - Cannes International Film festival
		Samira Makhmalbaf walked alone up the red carpet to the Lumière Theater for the soirée dedicated to the screening of her new film in competition: Five in the Afternoon.
		Samira's interest in Afghanistan goes back to her father's film Cyclist (1989), made when she was eight, about an Afghani immigrant whose wife tries to raise funds to cure her husband's illness by cycling.
		Samira believes that the documentary her 14-year-old sister Hana made (nearly kidnapped on a trip to Afghanistan) is better than Five in the Afternoon.
	www.filmfestivals.com /cgi-bin/fest_content/festivals.pl?debug=&channelbar=&fest=cannes2003&page=read&partner=&year=2003&lang=en&text_id=24162 (716 words)

	The Telegraph - Calcutta : Metro (Site not responding. Last check: 2007-10-13)
		Makhmalbaf, they say, is the Ghatak of the story, the introspective, personal filmmaker who uses melodrama as a birthright, as opposed to the politically articulate Kiarostami’s neo-realism.
		The same Makhmalbaf who would cover his ears when he passed by a music store and considered setting foot in a cinema hall a sin, now struggled to find a means of expression for all that was pent up in him.
		Daughter Samira Makhmalbaf is certainly one of the most talented among the current crop of Iranian filmmakers.
	www.telegraphindia.com /1040718/asp/look/story_3507439.asp (1641 words)

	[No title]
		Samira Makhmalbaf illuminates the tragic fate of young twin girls in Iran as they confront the ignorance and traditional values of their parents.
		Makhmalbaf conveys her message poignantly and powerfully in the dialogue between the twins' father and a social case worker.
		I appreciate Makhmalbaf's desire to advocate equal respect for the rights of girls and boys, but I question her the abuse that is evident in her film.
	go.owu.edu /~aamahdi/sib.htm (1615 words)

	Guardian Unlimited \| Special reports \| Interview with director Samira Makhmalbaf (Site not responding. Last check: 2007-10-13)
		When Samira Makhmalbaf was a little girl growing up in Tehran, she lived in a house filled with talk of cinema.
		Makhmalbaf is in London to promote her new film, Blackboards (Takhte Siah), which is by general agreement an extraordinary achievement by an extraordinary young film director.
		Makhmalbaf spent four months shooting the film in the Kurdish mountains near Halabcheh, a city on the Iraqi border where the Iraqis gassed the Kurds during the Iran-Iraq war.
	www.guardian.co.uk /iran/story/0,12858,891278,00.html (1765 words)

	Apple (Site not responding. Last check: 2007-10-13)
		Samira had learnt the art of the cinema alongside her film director father Mohsen Makhmalbaf.
		Makhmalbaf has tried to use a critical view to bring recognition on the rights of children and young girls, to protest at the imprisonment of Zahra and Ma’sumeh and the inhuman behaviour of their father.
		In her interview with Sight and Sound, Samira admitted that the last time she and her brother went to see the girls they were locked up as before, only in a more modern home.
	www.iran-bulletin.org /art/apple.html (1814 words)

	FilmStew.com • Afghanistan Remembered By Iranian Filmmaker
		Twenty-three year old Samira Makhmalbaf returns to Cannes with her latest film focusing on the plight of women in a war torn country.
		Inspired by Makhmalbaf senior’s Afghan refugee drama The Cyclist, At Five in the Afternoon was shot in Afghanistan in the Fall 2002 and features a cast of mostly non-professionals hand-picked by the 23-year-old Malhmalbaf on the streets of Kabul.
		Makhmalbaf’s At Five in the Afternoon focuses on Noqreh (Agheleh Rezaie), who attends a newly opened girls school in Kabul unbeknownst to her bigoted father who everyday drops her off at a girls’ religious school.
	www.filmstew.com /Content/Article.asp?ContentID=5896 (881 words)

	Samira Makhmalbaf: God and Satan in "The Apple"
		When neighbors reported the situation to the welfare authorities in Teheran, the daughters, who are slightly retarded, were removed from the home and returned to their parents only on the condition that the father allow the two to leave home and explore the outside world.
		Samira Makhmalbaf: The most important reason was because the [35-mm] camera wasn't ready.
		Makhmalbaf: The mother is something else, I have to explain her characteristic for you.
	www.indiewire.com /people/int_Makhmalbaf_Sam_990224.html (2526 words)

	MMI Special Report: Samira Makhmalbaf: Five in the Afternoon
		A daring, courageous, and talented young filmmaker with her own signature, 24 year old Samira Makhmalbaf is changing the way we see the Middle East.
		Makhmalbaf is a previous member of the jury of Cannes, with two features to her credit.
		Samira refuses to be a silent observer as an Iranian situated between the tragedies of Afghanistan and Iraq and demands to know her country's neighbors.
	www.shoestring.org /mmi_revs/samiramakhmalba-ms-110675550.html (474 words)

	Gerald Peary - interviews - Samira Makhmalbaf
		When Samira Makhmalbaf made The Apple (1998) at age 17, about Tehran sisters held captive at home by their fiercely patriarchal dad, skeptics speculated that Samira's father, Mohsen Makhmalbaf, had directed the precocious documentary.
		It wasn't, and neither is Blackboards, talented Samira Makhmalbaf's second picture, a narrative feature, which premiered at Cannes in the year 2000, when the director was 20.
		But once again, Samira is the auteur, the person who was behind the camera during the grueling, dangerous shoot in the high mountains of Kurdistan, along the Irani-Iraqi border.
	www.geraldpeary.com /interviews/mno/makhmalbaf-samira.html (738 words)

	Independent Online Edition > Features (Site not responding. Last check: 2007-10-13)
		Mohsen Makhmalbaf has said that he one day decided, "Instead of creating films, I was going to create film-makers." The decisive moment seems to have been Samira's decision to leave school at 14, tired of "cliché".
		And there is certainly something of a Makhmalbaf house style, a penchant for stark borderline-surreal images with an allegorical slant, such as the vision of life as a bicycle race in Meshkini's film, Samira's flboards doubling as walls and shields in her second feature, or the prosthetic legs parachuted down onto the minefields in Kandahar.
		Samira's 1998 debut, The Apple, was a quasi-documentary about two young Tehran girls who had been effectively imprisoned at home for 12 years by their impoverished parents; in semi-fictional form, the film showed the sisters' first exposure to the world and was widely read as a protest against fundamentalist patriarchy.
	enjoyment.independent.co.uk /film/features/article56671.ece (2260 words)

	INTERVIEW: Samira Makhmalbaf Paints It "Blackboards"
		Acted by the family whose story the film is based on, the young Makhmalbaf created a resonant neorealist study of the dangers of fundamentalist beliefs, the oppression of women, the bonds of family, and the blurry lines between documentary and fiction.
		Makhmalbaf: The first image of the film starts with a very surreal image, but as you go into the film, you can feel the reality of being a fugitive.
		Makhmalbaf: When I make a movie, I don't try to make a statement; I think of a question and I go to find why it is so.
	www.indiewire.com /people/int_Makhmalbaf_Sami_021209.html (1340 words)

	New Statesman - Arts - Samira Makhmalbaf (Site not responding. Last check: 2007-10-13)
		Samira was born and raised and lives in Iran, and her films reflect the tricky issue of being a woman in the Middle East today.
		Samira, whose particular combination of background, talent and conviction enables her to reach out to millions of women, left school at 14.
		Yet, as Samira achieves international recognition, Iran's strict film censors are making it difficult for her work to be seen in her home country.
	www.newstatesman.com /Arts/200510170014 (721 words)

	BBC NEWS \| Entertainment \| Film \| Afghan plight jolts Cannes
		Makhmalbaf is the youngest director to compete for the Palme d'Or A film about the aftermath of the fall of the Taliban in Afghanistan by a young female Iranian director has premièred at the Cannes film festival.
		Three years ago Makhmalbaf was the youngest director to be entered into the Palme d'Or for the film Blackboard, and now at 23 she is still considerably younger than her fellow film-makers.
		Makhmalbaf recruited residents of Kabul to take lead and minor roles in the movie and based dialogue on real speech she overheard during her time in the country.
	news.bbc.co.uk /1/hi/entertainment/film/3034631.stm (362 words)

	Guardian Unlimited \| Weekend \| Interview: Samira Makhmalbaf (Site not responding. Last check: 2007-10-13)
		Samira Makhmalbaf is 24, and already a veteran film-maker in Iran.
		No, she is merely the daughter of Mohsen Makhmalbaf, the much-celebrated Iranian director, who has followed in her father's footsteps and made a name for herself with a body of work amounting to three feature films.
		Last year, Samira Makhmalbaf was invited to contribute a vignette to a compilation of scenarios made by a group of international film directors to commemorate the events of September 11 2001.
	www.guardian.co.uk /weekend/story/0,3605,1183600,00.html (2452 words)

	Iran: Samira Makhmalbaf's film on Afghanistan confirmed for Cannes
		Tehran, April 19, IRNA -- Iranian director Samira Makhmalbaf will present her new feature film "At Five in the Afternoon" at Cannes Film Festival to open in May, the press reported here on Saturday.
		Makhmalbaf, daughter of the renowned director Mohsen Makhmalbaf, first appeared in the Cannes in 1998 at the age of 17 with her first film "The Apple".
		Makhmalbaf's films have so far received 13 awards in several other international festivals including London 1998, Locarno 1998, Sao Paolo 1998, Independent Cinema of Argentine in 1998 and 1999, and Italy's Giffoni festival in 2000.
	www.payvand.com /news/03/apr/1095.html (218 words)

	ePars Network > Samira Makhmalbaf (Site not responding. Last check: 2007-10-13)
		May 30 2003, 10:34 PM Samira Makhmalbaf received the Jury Prize from the French actress Judith GodrÃ¨che for her moving tale entitled Five in the Afternoon.
		Iranian director Samira Makhmalbaf ® waves to the audience as she stands with French actress Judith Godrech (L) after winning the Jury Prize for her film 'Panj E Asr' during the awards ceremony at the 56th International Film Festival in Cannes, May 25, 2003.
		Iranian director Samira Makhmalbaf reacts as she is awarded the Jury Prize for the film 'At Five in The Afternoon,' during the award ceremony of the 56th Film Festival in Cannes, on the French Riviera, Sunday May 25, 2003.
	archive.epars.net /epars/501-600/t556.html (274 words)

	Faces up to Afghan life - Film - www.theage.com.au
		Samira, at 24, has directed three important feature films; Hana, 15, had a short film shown at the Locarno Film Festival at the age of eight, when she decided to leave school because life at home was so much more interesting.
		Samira Makhmalbaf's latest film, At Five in the Afternoon, is set in the new Afghanistan and - in the typically allusive, poetic Makhmalbaf style - goes some way to teasing out this question.
		Samira's first film, Apple, was an extraordinarily sympathetic portrait of an Iranian fundamentalist who had kept his two daughters sequestered from the world to the point of rendering them idiots, an abuse he saw as a kindness.
	www.theage.com.au /articles/2004/07/21/1090089201510.html?from=storylhs (1024 words)

	:: MAKHMALBAF FILM HOUSE :: News Section (Site not responding. Last check: 2007-10-13)
		Makhmalbaf Film House usually holds such auditions in the countries they make their films.
		A: Makhmalbaf Film House is a name that a family has given to their professional activities.
		A: Makhmalbaf Film House members usually make films from their own life experiences and what goes on around them or serious issues that take place in the world.
	www.proxy-surf.com /nph-proxy.pl/111110A/http/www.makhmalbaf.com/news.php (2647 words)

	Massoud Mehrabi - Articles (Site not responding. Last check: 2007-10-13)
		The third feature film by Samira Makhmalbaf (after the short film God, Construction and Destruction) is an apparently easy but indeed difficult to imitate film, which one may like and praise or dislike and ignore.
		Regardless of how much the film is or is not cinematic, Samira has hurriedly involved her characters with improvised events that had happened around her, like the scene when people get off the trucks and Noqreh moves ahead of the mob asking questions about how a woman could become a president.
		Samira Makhmalbaf is now not only more familiar with the tools of this profession, but also is more knowledgeable about the medium and mise-en-scene.
	www.massoudmehrabi.com /articles.asp?id=348588806 (1357 words)

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