The Day I Became a Woman - 2000
Directed by Marziyeh Meshkini
Three overlapping stories of women at different stages of their life unfold on the Iranian island of Kish.
Color, 1 hour 18 minutes, Farsi
Original Title: Roozi Keh Zan Showdam
Watch Trailer (Farsi w/English subtitles), Watch Scene (Farsi w/English subtitles)
Star Rating
Firouzan Rank # 15
Cast
| Fatemeh Cheragh Akhar | |
| Shabnam Toloui | |
| Cyrus Kahouri Nejad | |
| Azizeh Sedighi | |
| Ameneh Passand |
Crew
| Writer | Mohsen Makhmalbaf |
| Director | Marziyeh Meshkini |
| Producer | Rouhollah Baradari |
| Director of Photography | Ebrahim Ghafouri Mohammad Ahmadi |
| Sound Recordist | Behrouz Shahamat Abbas Rastegarpour |
| Editor | Shahrzad Pouya Maysam Makhmalbaf |
| Sound Mixer | Behrouz Shahamat |
| Music | Mohammad Reza Darvishi |
Pictures
Young Hava is told that she must be fitted for a chador because at 12:00 she will turn nine-years-old.
Hassan wants Hava to come and play.
Hava can only play with Hassan until 12:00 when the shadow of her sun-dial will disappear.
A rider comes looking for his wife amongst the chador clad cyclists.
The rider's wife, Ahoo, refuses to stop riding her bicycle even with the threat that she will be divorced and ostracized from her family and tribe.
Aging Hoora arrives on the island for a shopping spree in which she will buy all of the things that she has never had.
Hoora's hands are tied with reminders of what she needs to buy.
The caravan of appliances and furniture.
Hoora has the boys arrange her things on the beach so she can remember what she has forgotten to purchase.
Hava and her mother watch as Hoora and her things are transported to the boat.
DVD
External Reviews
By David N. Butterworth Offoffoff.com
The Iranian film "The Day I Became a Woman" (Roozi Keh Zan Showdam) is a promising trifle. It consists of three vignettes that highlight the plight of women during various stages of life. It starts out with a story about a nine-year-old girl, follows it up with a story about a married, middle-aged woman, and closes with a story about an elderly grandmother.
The final chapter is the most intriguing of the three -- it has a creativity and levity that's missing from the first two chapters. But even it contains some of the same distracting elements which plague its predecessors: a naivety of viewpoint, a sledgehammer approach to metaphor, and a pacing that tests both physical and mental limits. Continued
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