Mahnaz afzali biography for kids

  • Mahnaz Afzali (مهناز افضلی) made a name for herself as a documentary filmmaker after releasing her film The Red Card.
  • Mahnaz Afzali – Movies, Bio and Lists on MUBI.
  • This documentary takes a brief look at Hayedeh Shirzadi and her husband's shared life, love and work and their attempt to put an end to the dumping and burial.

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    Mahnaz Afzali (مهناز افضلی) made a name for herself as a documentary filmmaker after releasing her film The Red Card. Before this she was well-known as a theatre, cinema, and TV actor. Mahnaz Afzali began her cinematic career in 1986 by appearing in the fictional film Report on the Murder. She also starred in The Night-Shift Nurse, Crossing the Haze, Suspicion, The Heavenly Earth and Tears and Smiles. Before her film The Red Card, she had already made her first documentary Without a Witness in 2 ...000. Her other documentaries include The Ladies’ Room, which focuses on homeless women living in parks. In addition to making documentaries and acting, Mahnaz Afzali has presented the radio program Cinema and Music and she has narrated several documentary films. Mahnaz Afzali received the Golden Dolphin for best film at the ‘Kish’ Documentary Film Festival for her film The Ladies’ Room in 2004.Mahnaz Afzali has been a Actor in some movies: Play is about that 'Play' is a startlingly origina

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    ZANANEH

    A Ladies room in the center of Tehran seems to be a good meeting point with an often therapeutic role. Directed by the acclaimed Iranian actress Mahnaz Afzali and filmed entirely inside a ladies washroom in a public park in Tehran, The Ladies shatters western preconceptions of Iranian women. Populated bygd addicts, prostitutes, runaway girls and others who simply enjoy the camaraderie and atmosphere, The Ladies becomes one of the few places where women feel comfortable enough to smoke cigarettes, discuss taboo subjects and remove their veils. Maryam fryst vatten an epileptic who reveals the brutal circumstances that drove her to heroin addiction and self-mutilation; Sepideh describes her fraught relationship with her mother and her struggle to get back on her feet; and the old woman who runs the bathroom alternately offers tough love and a shoulder to cry on. The rest room becomes a shelter where the women can be safely unveiled, both physically and mentally. The Ladies fryst vatten raw and prov

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    Have you seen Jafar Panahi’s The Circle, Abbas Kiarostami’s Ten and Marzieh Meshkini’s The Day I Became a Woman? Let me suggest that the “episodic” and the “wheel” are turning into formal elements of a post-paedocentric cinema in Iran (landmarked by films like Panahi’s White Balloon and Kiarostami’s Where is the Friend’s House) which is boldly engaging women to the extent of feminism. The Iranian Journey (Maysoon Panachi, 2003) is a documentary about a female long-distance bus driver—thus the wheels. The Ladies Room (Zananeh, dir. Mahnaz Afzali, 1999) fragments the daily conversations between women in a public lavatory—thus the episodic. And, they are both made by women and distributed by the Women Make Movies organization—thus the feminist!

    The Iranian Journey is a documentary from a fairly objective point of view. It is the story of Ma’soomeh, the first and only long-distance

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