Against the tumultuous backdrop of Iran’s 1953 CIA-backed coup d’état, the destinies of four women converge in a beautiful orchard garden, where they find independence, solace and companionship.

Zanan-e bedun-e mardan 2009 576p BluRay DD5.1 x264-EA.mkv
General
Container:  	Matroska
Runtime: 	1h 40mn
Size: 	3.41 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	4 426 Kbps
BPP: 	0.413
Audio
#1:  	Persian 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/8113E12ED4D78BE/Zanan-e_bedun-e_mardan_2009_576p_BluRay_DD5.1_x264-EA.mkv

Language(s):Farsi
Subtitles:English

The post Shirin Neshat & Shoja Azari – Zanan-e bedun-e mardan AKA Women Without Men (2009) first appeared on Cinema of the World.

Quote:
Her poetic two-channel video installation Tooba is based on the Koran, in which Tooba, the sacred tree of paradise, offers shelter and sustenance to those in need. Neshat’s video places a woman within a groove in the trunk of a large fig tree, symbolising its soul. They stand, alone, in a stone-walled garden set in a mountainous landscape. Men and women draw near and enter the enclosure, seeking refuge, as the Tooba-woman disappears into the Tooba-tree. The piece is ambiguous. Who has agency? Is it the crowd, who ‘invade’ the garden or the tree-woman who draws them towards her like a magnet? Tooba is dedicated to Iranian writer Shahrnush Parsipour, whose novel Women without Men concerns five women sojourning in a garden, one of whom is transformed into a tree.

236MB | 12m 50s | 1920×1080 | mkv

https://nitro.download/view/85988F73753B88F/Shirin_Neshat_-_Tooba_(2002).mkv

Language:No dialogue
Subtitles:None

The post Shirin Neshat – Tooba (2002) first appeared on Cinema of the World.

Quote:
Rapture is an installation of two synchronized black-and-white video sequences that are projected on opposite walls; large in scale, they evoke cinema screens. Working with hours of footage and a team of editors, the artist constructed two parallel narratives: on one side of the room, men populate an architectural environment; in the other sequence, women move within a natural one. The piece begins with images of a stone fortress and a hostile desert, respectively. The fortress dissolves into a shot of over one hundred men—uniformly dressed in plain white shirts and black pants—walking quickly through the cobblestone streets of an old city and entering the gates of the fortress. Simultaneously, the desert scene dissolves into a shot of an apparently equal number of women, wearing flowing, full-length veils, or chadors, emerging from different points in the barren landscape.

As the video progresses, the men busy themselves with a variety of mundane, sometimes absurd activities that contradict the intended function of the space. On the other side of the installation, the women chant, pray, and later, having made their way across the desert, launch a boat into the sea with six of their own aboard. In Rapture, Neshat self-consciously exploits entrenched clichés about gender and space: namely, the equation of woman with irrational, wild nature and man with rational, ordered culture. The video installation is itself a study of gendered group dynamics, with the viewer literally positioned between two opposing worlds. The players in Neshat’s surreal, segregated narratives are deployed in a syncopated rhythm of action and nonaction, mutual recognition and nonrecognition, advance and retreat.

Rapture exists as a poignant reflection on the rootless, unsettled psychology of exile. As an Iranian expatriate living in the United States, Neshat maintains a critical distance that has allowed her to locate both the poetics and the power of the veil. At the same time she celebrates the strength and beauty of Islamic women, she remains keenly aware of the horrors of repression.

212MB | 12m 32s | 1920×1080 | mkv

https://nitro.download/view/8604343F2C9362E/Shirin_Neshat_-_Rapture_(1999).mkv

Language:Farsi
Subtitles:None

The post Shirin Neshat – Rapture (1999) first appeared on Cinema of the World.

Synopsis
Roja is drawn from Neshat’s own recurring dreams, memories and desires. The work traces a young woman’s disquieting attempts to connect with American culture while reconciling her identification with her home country of Iran.

366MB | 17m 06s | 1920×1080 | mkv

https://nitroflare.com/view/A064817EA5400D5/Roja.Shirin.Neshat.2016.1080p.WEB-DL.AAC.2.0.x264.KG.mkv

Language(s):English
Subtitles:None

The post Shirin Neshat – Roja (2016) first appeared on Cinema of the World.

“Neshat spoke to The Stranger’s Jen Graves on Tuesday, by phone from her home in New York.

I first want to talk about Zarin, the anorexic prostitute who hallucinates at the sight of her john, then flees to a women’s bath—a beautiful place, sparkling with dusty light—where she scrubs her own skin until she bleeds. A few years ago, I caught your short video portrait of her, and was never able to get her out of my mind. You’ve said her character feels the closest to you.

In some ways, every one of the women has an aspect of my own issues in them, but I think with Zarin, I found her the most touching. There’s her issue with the body, and the question of her loneliness and alienation—the fact that she always came across as if she was a woman that was never meant to belong to this planet but somehow she had to cope with it. Although I’ve never been like that, I’ve understood that problem, and to some degree, I have experienced being lonely a lot of times in my life.The most important thing to me is her relationship to her body, in the way that she punishes herself for everything that is wrong with the world. When I was young, I was very briefly anorexic, but I think this is very much of a woman issue: You basically self-inflict to cope with everything that is wrong in the world. Oddly enough, the one that is the most sinful [the prostitute] becomes the most spiritual. We have a saying, that the mystics, the dervishes in our Sufi tradition, are the people that suffer the most, and because they’re so tortured, they turn into spiritual beings. Zarin, who is the most tortured, becomes the most spiritual and the most compassionate in the way that she impacts the other women’s lives. It’s her spirituality and otherworldliness that I like. The last thing, also, is that Zarin never speaks in the entire film, but you always understand her.”

181MB | 20m 04s | 758×316 | mkv

https://nitro.download/view/17792576B8F812B/Zarin.mkv
https://nitro.download/view/E925821150D87BF/Zarin_English.srt

Language(s):Farsi
Subtitles:English

The post Shirin Neshat – Zarin (2005) first appeared on Cinema of the World.