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Maryam Tafakory

Maryam Tafakory

출생 : , Shiraz, Iran

약력

Maryam TAFAKORY (1987, Iran) is an artist filmmaker whose textual and filmic collages interweave poetry, documentary, archival, and found material. Her work has been exhibited internationally including at MoMA Doc Fortnight; IFF Rotterdam; True/False; Pergamon Museum; M HKA; and Anthology Film Archives amongst others. She has received several awards including the Ammodo Tiger Short at 51st IFFR, Barbara Hammer Feminist Film Award at 60th Ann Arbor Film Festival, Best Experimental Short Film at 70th Melbourne International Film Festival, the Jury Prize at Documenta Madrid, and the Best Short Film at Festival de Cine Lima Independiente. She was awarded the Flaherty/Colgate Distinguished Global Filmmaker in Residence (NY) in 2019, and she received a MacDowell Fellowship in 2022.

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Maryam Tafakory

Maryam Tafakory

참여 작품

Writer

Nazarbazi [the play of glances] is a film about love and desire in Iranian cinema where depictions of intimacy and touch between women and men are prohibited.

Editor

Nazarbazi [the play of glances] is a film about love and desire in Iranian cinema where depictions of intimacy and touch between women and men are prohibited.

Director

Nazarbazi [the play of glances] is a film about love and desire in Iranian cinema where depictions of intimacy and touch between women and men are prohibited.

Director

Using excerpts of films produced between 1990 and 2018, Irani Bag is a split-screen video essay questioning the innocence of bags in post-revolution Iranian cinema.

I Have Sinned a Rapturous Sin

I Have Sinned a Rapturous Sin

Sound Designer

Neatly chalked extracts and spoken fragments of Forugh Farrokhzad's radical poem Sin directly contradict the unembellished recordings of clerics instructing women to suppress their sexual predilections. How? By eating lettuce, of course.

I Have Sinned a Rapturous Sin

I Have Sinned a Rapturous Sin

Editor

Neatly chalked extracts and spoken fragments of Forugh Farrokhzad's radical poem Sin directly contradict the unembellished recordings of clerics instructing women to suppress their sexual predilections. How? By eating lettuce, of course.

I Have Sinned a Rapturous Sin

I Have Sinned a Rapturous Sin

Cinematography

Neatly chalked extracts and spoken fragments of Forugh Farrokhzad's radical poem Sin directly contradict the unembellished recordings of clerics instructing women to suppress their sexual predilections. How? By eating lettuce, of course.

I Have Sinned a Rapturous Sin

I Have Sinned a Rapturous Sin

Producer

Neatly chalked extracts and spoken fragments of Forugh Farrokhzad's radical poem Sin directly contradict the unembellished recordings of clerics instructing women to suppress their sexual predilections. How? By eating lettuce, of course.

I Have Sinned a Rapturous Sin

I Have Sinned a Rapturous Sin

Director

Neatly chalked extracts and spoken fragments of Forugh Farrokhzad's radical poem Sin directly contradict the unembellished recordings of clerics instructing women to suppress their sexual predilections. How? By eating lettuce, of course.

Director

Making a stage from two public spaces in Iran which women are prohibited from entering, Maryam Tafakory’s depiction of men and women coming of age draws parallels while commenting on this separation of the genders. The authority of tradition is metaphorically undermined by obstructed onscreen text, while a woman’s low hums and whispers remind us of the presence of the body in the enactment of rituals.

Fragments of a Letter to an Unborn Child

Fragments of a Letter to an Unborn Child

Director

text becomes the body for a hand.

Director

A film skirting the edge of performance, documentary, and poetry, explores the question of human memory through the combination of a variety of abstract and symbolic motifs. It refers to Marcel Proust's In Search of Lost Time and the principles of "involuntary memory" based on the unconscious storing of memories connected with concrete emotions.

Director

Inner monologues are interwoven with embodied forms of language to create a split-screen, fictional scenario incorporating choreography, daily obligations and part-presences.

I Was Five When I Became a Woman

I Was Five When I Became a Woman

Director