I've seen the "I grew up in Iran" comics, so I wasn't that excited to watch it. However, audiences who have not read the comics directly enter the film and feel that they like it so much that they cannot extricate themselves. Many people commented that they loved this film to death, and praised that it was very cute from the characters to the characters.
"I grew up in Iran" tells the story of an Iranian girl with royal blood growing up. Iran has experienced war, its economy has been greatly damaged, and it has become increasingly conservative. The girl had difficulty adjusting to the stereotypes of the school, so she was sent by her parents to study in Austria. In Austria, she was aroused by love and devastated by contact punk. After two months of wandering alone, she asked to return home. After returning to China, she saw Iran, which was still clinging to the old rules after the war, and listened to her father's story that the Iranians in the war had become blind obedience. In fact, they did not know why they had to sacrifice for war. After returning to China, she could not fully integrate into life in Iran, and was deeply confused by her identity. She didn't know if she was Iranian or a foreigner. After a while of self-isolation, I began to awaken. She becomes emboldened to face alleged custody, has her first marriage, and sees the unexpected death of a close friend. Her final choice was to travel far away again and go to free France. The price of freedom was that her grandmother died after she left, and she never saw her again.
The film is deduced from the manga of the same name in the autobiographical autobiography of director Mazan Shatabi, which has cut out many complicated parts. For example, the various hardships during studying in Austria, her mother's experience of visiting her in Austria, and the psychological gap between her and her childhood friends after returning to China. The rhythm of the film is thus tight. The manga is in the order of growth time, while the movie evokes memories by its real time and space. Like the comics, the memory part is black and white, and the colors are strong, showing the girl's lonely state and the oppressed Iranian society in a timely manner; the reality part is colored, and the use of color is relatively simple. Because it is an animation, many plots and expressions are exaggerated. For example, when she grew up as a teenage girl in Austria, the changes in her body were shown in lovely ways-clothes and shoes were broken in an instant, as if growth was a momentary thing; her breast development made her unable to bear its weight, Falling down...
Mazan-Satabie bravely faced many problems in her growth, not only the confusion of her identity. These issues include identification with the motherland, from being afraid to say that you are Iranian in a foreign country to speaking out about your birthplace; including memories of three failed relationships, the first boyfriend was gay, the second boyfriend cheated, the third Three loves buried by trivialities in the marriage; including the perception of fear, from "framing" others to confronting fear and then completely breaking free from the threat of fear. The audience's long applause was a tribute to Mazan Shatabi for being honest with herself, but also for making them realise the reality of Iran for nearly two decades. And Mazan-Satabie's humorous attitude and her sarcastic narration of her past will win more audiences for her.
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