My favorite cake ( Ke Changke mahboobe man, Iran, Sweden, Germany, France, 2024, colored, 97 min.)
Directed By: Mar 6am Moghadam, Behtash Sanaeeha
Scripted By: Mar'akam Moghadam, Behtash Sanaeeha < BR >
Photo: Mohamad Hadadi
Installation: Ata Mehrad
Starring: Lili Farhadpour (Mahin), Esmaeel Mehrabi (Faramarz), Mohammad Heidari (young taxi driver), Melika Pazouki (girl in the park)
Produced by: Caract Animatres Productions, FilmSazane Javan, Hobab, Animatchmen Productions, ZDF / Arte
Festivals, awards: Berlin 2024: Ecumenical Jury Prize for the best film of the competition program, FIPRESCI Prize for the best film of the competition program; Karlovy Vary 2024; Edinburgh 2024; Hong Kong 2024
Audience reaction: a pronounced affection that does not often grow to enthusiasm, but even less often gets into negative criticism
Criticism response: more or less pronounced affection with really rare critical voices
Distribution: Demiurg
Genre: romantic comedy
Story
Since the 70-year-old Mahin's husband died and her daughter moved to Europe indefinitely, the latter has lived her lonely life in her Tehran apartment. One afternoon, during a meeting with friends over tea, she is completely unprepared and surprised by the dancing of her heart. The spark of love settles in it again, after a really long time. That afternoon, he comes across a person next to whom he suddenly feels revived and awakened. And when the afternoon turns into the evening, the latter brings her new and new unforeseen surprises and awakened memories.
Comment
"This truly delicious film treat was a real sensation at this year's Berlin festival, as it was loved by both the critical community and the broadest audience. With a hefty measure of modesty, but also passion, the creative duo Mar 6tam Moghadam and Behtashu Sanaeeha managed to make a film work in which we immediately recognize a truly delicious and harmonious balance between emphatically cordial, almost cheesy politeness and affection, and that almost bitter aftertaste, which we cannot just get rid of long after watching. The Iranian authorities, of course, did not allow them to be officially presented at the Berlin festival. However, the duo managed a truly great throw, as their work seduces and deeply emotionally touches almost every and every audience in the halls around the world.«
From the Auckland Festival Showcase
"This wonderfully sweet, sweet and entertaining film will undoubtedly stimulate a discussion on the topic of creativity under authoritarian regimes, or more specifically, ask and try to answer the question whether these rigid and repressive regimes are not their own cradle of artistic excesses. We are encouraged to reflect on this by the creators themselves and their personal experience with the Iranian regime. It is known that the latter forbade them to go to Berlin, where they wanted to personally promote their work during their appearance in the competition program. But, apparently, then it seemed to the regime that this was not enough, that the creator needed to be pressed even harder. And so, a few months ago, representatives of the regime visited the office premises of their production house and seized computers and their disks there. Fortunately, the film itself, which with its warm humanism is a convincing condemnation of this kind of stupid and fumbling repression, was not found.«
Peter Bradsha / The Guardian
Author's statement
"When we were asked after the Berlin premiere screening how we would define our film, we thought about it for a long time. But then it finally dawned on us that the simplest and most concise definition is actually also the most accurate. There is not much to discuss and delve into here, the thing is very simple: the story of the film gives us an insight into the daily life of middle-aged and middle-class women in modern Iran. This is the demographic group that, to date, has practically not received its place in modern Iranian cinema, about which little has ever been talked about, and about which film portrayals almost do not exist. It was the latter that finally convinced us that we simply had to tackle this story.«
Mar 6am Moghadam and Behtash Sanaeeha, director and screenwriter
Moja najljubša torta ( Keyke mahboobe man , Iran, Švedska, Nemčija, Francija, 2024, barvni, 97 min.)
Režija: Maryam Moghadam, Behtash Sanaeeha
Scenarij: Maryam Moghadam, Behtash Sanaeeha
Fotografija: Mohamad Hadadi
Montaža: Ata Mehrad
Igrajo: Lili Farhadpour (Mahin), Esmaeel Mehrabi (Faramarz), Mohammad Heidari (mladi taksist), Melika Pazouki (dekle v parku)
Produkcija: Caractères Productions, FilmSazane Javan, Hobab, Watchmen Productions, ZDF/Arte
Festivali, nagrade : Berlin 2024: nagrada ekumenske žirije za najboljši film tekmovalnega programa, nagrada FIPRESCI za najboljši film tekmovalnega programa; Karlovi Vari 2024; Edinburg 2024; Hongkong 2024
Odziv občinstva : izrazita naklonjenost, ki ne zraste pogosto do navdušenja, a še redkeje zaide v negativno kritiko
Odziv kritike : bolj ali manj izrazita naklonjenost z resnično redkimi kritičnimi glasovi
Distribucija: Demiurg
Žanr: romantična komedija
Zgodba
Odkar je 70-letni Mahin umrl mož, hči pa se je za nedoločen čas preselila v Evropo, je ta v svojem teheranskem stanovanju živela svoje osamljeno življenje. Nekega popoldneva jo med srečanjem s prijatelji ob čaju povsem nepripravljeno in presenečeno doleti poplesavanje njenega srca. Vanj se namreč znova, po resnično dolgem času naseli iskra ljubezni. Tistega popoldneva namreč naleti na osebo, ob kateri se nenadoma počuti kot oživljena in prebujena. In ko se popoldan prevesi v večer, ji slednja prinese nova in nova nepredvidena presenečenja in prebujene spomine.
Komentar
»Ta resnično okusna filmska poslastica je bila na letošnjem berlinskem festivalu prava mala senzacija, saj jo je oboževala tako kritiška srenja kot tudi najširše občinstvo. Z zajetno mero skromnosti, a tudi strasti je ustvarjalnemu dvojcu Maryam Moghadam in Behtashu Sanaeeha uspelo posneti filmsko delo, v katerem takoj prepoznamo resnično okusno in ubrano uravnoteženost med izrazito prisrčno, skoraj osladno vljudnostjo in naklonjenostjo ter tistim skoraj grenkim priokusom, ki se ga še dolgo po ogledu ne moremo kar tako znebiti. Iranske oblasti jima seveda niso dovolile uradne predstavitve na berlinskem festivalu. Vseeno pa je dvojcu uspel resnično veliki met, saj njuno delo zapeljuje in se globoko čustveno dotakne skoraj vsakega in vsakršnega občinstva v dvoranah po svetu.«
Iz predstavitve na aucklandskem festivalu
»Ta čudovito prisrčni, sladki in zabavni film bo nedvomno spodbudil diskusijo na temo ustvarjalnosti pod avtoritarnimi režimi, oziroma konkretneje, zastavil in poskušal odgovoriti na vprašanje, ali niso prav tovrstni rigidni in represivni režimi svojska zibelka umetniških presežkov. K razmisleku o tem nas spodbujata sama ustvarjalca in njuna osebna izkušnja z iranskim režimom. Znano je namreč, da jima je ta prepovedal odhod v Berlin, kjer sta hotela med nastopom v tekmovalnem programu osebno promovirati svoje delo. A očitno se je nato režimu zazdelo, da to ni dovolj, da je treba na ustvarjalca še močneje pritisniti. In tako so pred nekaj meseci predstavniki režima obiskali pisarniške prostore njune produkcijske hiše ter tam zasegli računalnike in njihove diske. Na srečo samega filma, ki je s svojim toplim humanizmom prepričljiva obsodba tovrstne bedaste in štoraste represije, niso našli.«
Peter Bradshaw, The Guardian
Izjava avtorja
»Ko so naju po berlinski premierni projekciji spraševali, kako bi opredelila najin film, sva kar dolgo razmišljala o tem. A nato se nama je končno posvetilo, da je najbolj preprosta in zgoščena opredelitev pravzaprav hkrati tudi najbolj natančna. Tu ni kaj veliko razpravljati in se poglabljati, stvar je zelo preprosta: zgodba filma nam omogoči vpogled v vsakodnevno življenje žensk srednjih let in pripadnic srednjega razreda v sodobnem Iranu. To je namreč tista demografska skupina, ki do danes praktično ni dobila svojega mesta v sodobnem iranskem filmu, o kateri se je komaj kdaj kaj malega spregovorilo in o kateri filmske upodobitve skoraj ne obstajajo. Prav slednje naju je dokončno prepričalo, da se te zgodbe preprosto morava lotiti.«
Maryam Moghadam in Behtash Sanaeeha, režiserja in scenarista
