Persepolis’ Road to the Oscars


Darius Kadivar
by Darius Kadivar

Persepolis Wins Grand Jury Prize at French Italian Film Festival 2007 in Florence Italy amidst Protest from Iran’s government.

Nothing seems to stop Marjane Satrapi and Vincent Paronnaud’s French Production Persepolis on its road to success. Already an Oscar® Contender for Best Foreign Picture at the upcoming 2007 Oscars®, and Representing France in this category. After gaining critical and Box Office Success in France through a Jury Prize at Cannes and more than a Million viewers nationwide, Marjane Satrapi’s screen adaptation of her best-selling comic book have reached a well deserved cult status worldwide. Even if it is too soon to predict the movie’s chances at the Oscars® since the official list of contenders will only be revealed in early January, one can already say that the movie and its co-directors have largely achieved their goals in turning their joint collaboration into a visual animated masterpiece. This is also a victory for an Art form, the Animated movie, which is often unjustly deemed as inferior to live action feature films and which has been largely snubbed in the past by film critics in general. This is certainly not the case for Persepolis which was hailed at the Cannes Film Festival this year with a Standing Ovation that lasted more than 20 minutes for the cast and crew composed of legendary film stars like Danielle Darrieux and Catherine Deneuve as well as popular film Stars as Deneuve’s daughter Chiara Mastroianni and French Armenian Simon Akbarian. The film will be casting Sean Penn, Iggy Pop and Gena Rowlands in the title roles with the same mother and daughter duo Deneuve- Mastroianni. It got raving reviews at the New York International Film Festival last October which augurs a good reception from the North American audience that will get to see the film in upcoming December. Now the film has been awarded with the Grand Jury Prize at the 22nd French Film Festival in Florence Italy aimed at Promoting French productions in Italy and strengthen ties with the Latin film industry and community.

The autobiographical story of author Marjane Satrapi about her upbringing in Iran shortly in the aftermath of the Islamic Revolution of 1979, amidst the bloody Iran-Iraq war and followed by her life in self exile in Europe is due on Italian screens in January 2007. Persepolis was in competition with Claude Lelouch’s "Roman de gare" , Volker Schlöndorff’s “Neuvième Jour” ( French German Co-Production) and Claude Miller’s “Un Secret” ( all latter three of whom are highly regarded directors in France). The 22nd edition of this film festival was dedicated to a tribute to the late Louis Malle with a retrospective of twenty of his films. French Stars Juliette Binoche, screenwriter Jean Claude Carrière, German director Volker Schlöndorff and film critic Philippe participated to a conference on Louis Malle. Not Surprisingly Persepolis was once again targeted by the Islamic Republic of Iran’s representative, the infamous Mehdi Kalhor who had already criticized the Cannes Film Festival’s choice for awarding Persepolis with the Jury Prize. He reiterated his harsh critics once again calling the film Islamophobic and an Insult to Iranians. An Odd reaction towards a film that was dedicated to all Iranians by the co-directors and defended as a humanistic film which calls for a peaceful dialogue and mutual tolerance between the West and Iran. An argument which seems not to have convinced the cultural advisor of Iran’s controversial President Mahmoud Ahmadinejad.Refusing to enter a debate on this issue ( or rather respond to the Iranian governments provocations), Satrapi however expressed her views regarding the critics from Iran regarding her film at the New York film Festival ( see Youtube) claiming that her film is on the contrary expressing empathy and love for Iranians in general and aimed at delivering a universal and humanistic message to the viewers.

Regardless of Iran’s protests that to date have only managed to pressure the Bangkok International Film Festival, nothing seems to stop Persepolis on its road to success and critical admiration for it is first and foremost a great film experience and eye opening view on the realities of a country which is torn between extremists from all sides be it by the current Islamic Republic’s leadership or by a war mongering US administration.

That however won’t stop Persepolis to make its way into Iranian households especially since the film is due on DVD in France this coming December. VIVE LE CINEMA !&VIVE PERSEPOLIS ! ;0)



more from Darius Kadivar
Darius Kadivar

Robin aka Batman aka Shitface Thank you for the Dog ;0)

by Darius Kadivar on

Thank you for complimenting the dog.

Lucky for you hezbollahi scarecrow with no name I cannot Bite your tongue out of its roots !

Oh and before I forget

Respectully Up Yours !


Orang Gholikhani


by Orang Gholikhani on

Elle n'est pas du tout timide dans son livre ! C'est cela qui compte et qui restera dans l'histoire.

Je ne l'a connais pas personnellement et je ne juge que son travail qui est juste et objectif.

Il y a des mauvaises langues qui veulent térnir son image, il ne faut pas leur donner l'écho.



Orang Gholikhani

Poulet aux Prunes / Chicken Plum

by Orang Gholikhani on

I apreciated Persepolis and I LOVED chicken plum. I consider it is her best book. Full of imagination, feelings and humour. May be some day she will do another movie with this one.

I recommand you this site :

She is writing a new one Onzième Laureate (eleventh laureat) :



inferiority complex

by Robin (not verified) on

darius kadivar is a monarchist dog, a francophile, and is struck w an inferiority complex.


Oui et Non

by IranFr on

Marjane Satrapi est une artiste très talentueuse mais côté idée politique elle n'est pas RADICALEMENT contre la République Islamique d'Iran. Elle est un peu trop timide à ce niveau là.

Mademoiselle Shany


Proof that ART can speak TRUTH to POWER

by bahmani on

As Americans like to say, "The Truth Hurts". Great to see Satrapi's tale is making uncomfortable, those who have been so responsible for making so many people uncomfortable with their flawed social experiment. I can't wait to see it in the theaters in the US. Everyone should collectively use the power of positive thinking (for once), and "Think OSCAR!"


Mrs. Satrapi chose 'art'

by Kamangir on

Mrs. Satrapi chose 'art' in a very simple and honest way to tell others her story which is nothing but the story of most Iranians. He book was translated into many languages and I as an Iranian am very proud of her. The artistic and cultural sectors of the West, specially in Europe, have recognized and appreciated her message.

I am sure the film will be a success, mainly because it has to do with our current reality. Obviously the Islamo-Fascist regime of Iran does not like this, nor do all iranians that fear regime change.

To Redwine:  Hermano, aunque, temporalmente vivo en Canada, he crecido en Espanya y desde aqui te puedo decir, que el pueblo espanol conoce muy bien el significado de la democracia, ya que tuvo que luchar por ella, mientras que aqui en Canada, en realidad no saben mucho lo que significa, En internet, sigo viendo el programa (59 segundos) y espero que algun dia en nuestro propio pais podamos dialogar en libertad. Un Abrazo.

Ba sepase faravan ve banoo Satrapi va degar doostane Irandoost.


Red Wine

Marjane Satrapi In Spain

by Red Wine on

I am so proud of her .

Muy bien chica,vamos a ganar al Oscar .

MADRID — For the first time ever, a Spanish film, Gerardo Olivares’ moving immigration drama “14 Kilometers,” took the top Golden Spike at the 52nd Valladolid Intl. Film Fest.

In “Kilometers,” Olivares employs the same methods that yielded strong results in his Berlin Panorama player “The Great Match": months long research and a fictionalized, warm-hearted re-creation of events shot in the same locations with sumptuous HD photography and non-pro thesps.

In this case, “Kilometers” follows two men from Southern Niger and a girl from Mali crossing the Tenere Desert, Algeria and Morocco before confronting passage across the Straits of Gibraltar — the 14 kilometers of the film’s title.

As ever, Valladolid, a fall launchpad for arthouse pics, sported a strong lineup of standouts from other events. Marjane Satrapi and Vicent Paronnaud’s “Persepolis” opened the festival to strong applause; another liked film, Krzysztof Krauze and Joanna Kos-Krauze’s contempo Polish family drama “Savior’s Square,” won a Silver Spike; and Claude Berri’s “Hunting and Gathering” took the fest’s general audience award.

But for once at Valladolid, it was Spain’s edition, with Spanish pics, often world preems, producing large press coverage and often upbeat reactions.

Well received by the public, Spanish filmmaker-writer Gonzalo Suarez’s “Oviedo Express” nominally chronicles a troupe of actors reaching Northern Spain’s Oviedo to put on a stage version of famed Spanish novel “La Regenta.”

But that’s just the launchpad for Suarez’s signature and semi- tongue-in-cheek mix of fantasy, literary references, and romantic drama.

Co-produced by Spain’s Morena Films, Mexican Rodrigo Pla’s “The Zone,” one of the standout Latin American debs of this year, a stylish and powerful social thriller about a gated community manhunt, also went down well, as did another strong Latin American first film, Lucia Puenzo’s transsexual drama “XXY,” co-produced by Wanda.

Fest boasted two standout docupics. One, Guenter Schwaiger’s discomfiting “Hafner’s Paradise,” co-produced by Schwaiger’s Madrid-based label, is an in-depth portrait of an 83-year-old ex-S.S. officer, Paul Hafner, who moved to Madrid under Franco in 1945, still lives comfortably in Spain, and has no moral qualms about his Nazi past.

Also currying positive buzz, Carlos Garcia-Alix’s “The Honor of the Wronged,” proved a painterly, revisionist take on the still-open scars left by the first third of the 20th century.

“Wronged” focuses on the turbulent life of off-the-rails anarchist Felipe Sandoval. It adds to attempts by usually new directors to come to terms with the complexities of Spain’s often atrocious and usually divisive recent past.