Roozi ke zan shodam (2000)

Director:

Marzieh Makhmalbaf

Writers:

Marzieh Makhmalbaf (dialogue)
Mohsen Makhmalbaf (writer)

Release Date:

8 March 2001 (France)

Genre:

Drama

Plot:

This is the story of women at three stages of life in Iran. The first part centers on a young girl on...

Awards:

8 wins & 2 nominations

Cast

Fatemeh Cherag Akhar	...	Hava
Hassan Nebhan	...	Hassan
Shahr Banou Sisizadeh	...	Mother
Ameneh Passand	...	Grandmother
Shabnam Toloui	...	Ahoo
Sirous Kahvarinegad	...	Husband
Mahram Zeinal Zadeh	...	Osmann
Norieh Mahigiran	...	Rival Cyclist
Azizeh Sedighi	...	Hoora
Badr Iravani	...	Young Boy

Also Known As:

The Day I Became a Woman (International: English title)

Runtime:

Italy:78 min

Country:

Iran

Language:

Persian

Color:

Color

Certification:

South Korea:All | France:U | Netherlands:AL | Sweden:7 | UK:U

Company:

Makhmalbaf Productions

A poignant illustration of the banality of commodification.

Quite similar in style and effect to "Where is the Friend's Home" (Knane-ye doust kodjast? 1987), "The Day I Became a Woman" portrays the three stages of becoming through the eyes of a young girl. The cinematography pulls the viewer into the very essence of being a woman in Iran. With all the preconceived notions of what that might entail for any American, we are given a glimpse of what is underneath that veil. The simplicity of womanhood, or what one might take for granted, confronts a very stark reality when one thinks of all the parallels that could be made with women's roles in both Iran and all over the world. Iran and other "Third World Countries" (sorry for such a contrite expression) are mysterious to "First World Countries" because they have been able to retain qualities inherently necessary to the development of modern technology. Likewise, women have withstood exploitation through various crafts, and thus stand to lose so much if they chose to give up their inherent qualities. A young girl, in the first segment of the film, reflects those qualities. The generous and unselfish interest she shows for a young boy preoccupied with his homework is quite remarkable. Behind bars, this boy can only give her a portion of what she wants. "Come out and play with me," she emotes, finds reciprocation only through a couple of pieces of sweet and sour candy. As her time runs out, and her mother arrives with a veil, metaphorically conveying her movement into womanhood, she must leave her childhood friend behind those bars, even though the camera's position suggests that she is subordinate to this imprisoned friend. Secondary, only to the first portion of the film, is a bicycle race showing hundreds of young women competing for first place. The poignant contrast between horse's hooves and bicycle wheels is crucial to the understanding of tradition confronted with modernity. While at this point in the film one is still unsure as to what the greater message in this film could be, one does get the sense that sheer determination and motivation will allow women to move way out in front of the competition. Unfortunately the traditional husband's persistent along side gallop pulls her out of the race as she cannot transcend the moral dilemma of turning her back on her own tribe and brothers. Finally, an woman returning to her native country, waiving hello to her future and goodbye to a past which was never able to provide for all of her desires, arrives only to acquire commodities which she feels will rectify her insatiable wants. She recognizes only that for which she has made provisions. For example, a refrigerator corresponding to the piece of cloth tied on her index finger, a vacuum used to suck up sand on the beach where all her purchased items are arranged, not to mention the large bed which could sleep the dozen boys trailing her out of the mall. These are all superfluous items given her age. She forgets about those around her, as she embarks a large ship to take her and her belongings somewhere to enjoy them without other menaces, while young women who lost the bicycle race ask, "What will you do with all of these things? We could use these as dowries so that we may be married." In short, after a very long discussion, "The Day I Became a Woman" shows how Iranian women's roles remain to be exploited, and that it will depend on varying degrees of their own willingness, motivation and determination.