nazarbazi-4.jpg

نظربازی

Nazarbazi

[19'  |  2022]

Awards:

Gold Hugo Award - Best Documentary Short - 58th Chicago International Film Festival

Best Experimental Short Film Award  - 70th Melbourne International Film Festival, MIFF

Ammodo Tiger Short Award  - 51st International Film Festival Rotterdam, IFFR 

Best Visual Concept Award  - 12th Bucharest International Experimental Film Festival, BIEFF

Jury Statement at 70th MIFF:


Jacques Rivette once asked, “What is cinema but the play of the actor and the actress, of the hero and the décor, of the word and the face, of the hand and the object?” If this rhetorical question points to a deep truth about the nature of the medium, then Maryam Tafakory’s poetic and quietly forceful found-footage collage is pure cinema. Taking the symbolically loaded exchanges between men and women in post-Revolutionary film as its starting point (physical contact onscreen is strictly forbidden by Iranian censors), Nazarbazi is a stirring reflection on desire, sensation, absence, control, freedom, and love.

Jury report at 51st IFFR:

“An exceptionally skillful film, through the way it translates rigorous research into a convincing dramaturgical experience. The filmmaker managed to capture an argument into a piece of poetry – a seamless collage crafted with directorial intelligence and a seemingly effortless fluidity in both text and image. A film that seductively interrogates responses to censorship and suppression.”

Jury report at 58th Chicago International Film Festival:

Maryam Tafakory’s Nazarbazi re-presents a cinematic history as a method for examining the present. The film adeptly mines a wellspring of found footage media to demonstrate the tension between sound and silence, needs and wants, and the ability to fulfill them.

Screenings: 

MoMA Doc Fortnight

True/False Film Festival

30th Curtas Vila do Conde IFF

70th MIFF, Melbourne

Rencontres Internationales Paris/Berlin

 Costa Rica  International Film Festival, San José

Frames of Representation, ICA London

Reviews 

by Mike Hoolboom

Found Footage Magazine – print

by Mahan Moalemi

Non-Fiction

by Kevin B. Lee

FilmExplorer

by Namrata Joshi

National Herald

by Ben Nicholson

Film Verdict 
 

by Flavia Dima

Films in Frame

by Elhum Shakerifar

words sketched onto the night’s taut skin

By José Sarmiento Hinojosa

desistfilm

review-5.jpg

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.

-

The film focuses primarily on images of women whose bodies have been erased and victimised in post-revolution cinema, and alludes to discreet forms of communication that operate within, yet also circumnavigate the censors. It attempts to touch the spaces we cannot touch; inner feelings/sensations – but also untouchability beyond physical contact: unspoken prohibitions/regulators that may only unveil as embodied experiences. The film uses poetry and silence as the only language/s with which we can attempt to touch these spaces of socio-political ambiguities.

-

Mentions

by Catherine Grant 

Criterion Daily

by Ariel Avissar

Sight & Sound - BFI

 

by Leo Goldsmith

Senses of Cinema 

by Ben Nicholson

review-8.jpg

by Flavia Dima

By José Sarmiento Hinojosa

Nazarbazi-review-1.jpg

by Namrata Joshi

review-7.jpg
review-6.jpg

By Daniel Montesinos  

review-2.jpg
ICA-Tafakory.jpg
review-3.jpg

By BERLINER