Iran is a fascinating country. In this Islamic Republic torn between tradition and modernity, a burgeoning, creative, and daring photography scene commits to presenting a different picture of their country to the world. Directed by duo Nathalie Masduraud and Valérie Urréa, this film follows the tale of five photographers, four of which are women, from Tehran to Lake Urmia. A tale of women, first and foremost, but also of today’s Iran.
| Director | Nathalie Masduraud, Valérie Urréa |
| Author | Nathalie Masduraud, Valérie Urréa |
| Editing | Muriel Breton |
| Sound | Shahin Poor Dadashi |
| Cinematography | Philippe Guilbert |
© Solmaz Daryani
© Abbas Kowsari
© Newsha Tavakolian / Magnum for Time
Production
Valérie Urréa
Since the 1990s, Valérie Urréa affirms her enthusiasm for visual arts and live performance. Her films question subjects as sensitive as autism, masculinity, or issues of gender and race through documentaries, Web films, captations, and fiction. Her several time awarded work is regularly screened in international festivals.
Iran#NoFilter (2017) ; À mon père (2016) ; Heroes (2016) ; Clin d’œil (2016) ; Afrique du Sud, portraits chromatiques (2014) ; Mouvements d’orchestre (2012) ; L’homme qui danse (2006) ; Hors les murs (2002).
Nathalie Masduraud
Nathalie Masduraud chose documentary filmmaking as a discipline, and in particularly societal films and portraits of artists. Her interest in history and archives leds her to work on subjects such as Second World War, under the scope of denunciation or propaganda campaign during the Occupation. This research will fascinate her to the writing of a series on the living condition of the black populations in the colonies of West and French Equatorial Africa.
Iran#NoFilter (2017) ; Afrique du Sud, portraits chromatiques (2014) ; Chromatic Society (2014) ; La danse au cinéma (2007) ; Françoise Sagan, une vie de tous les dangers (2004) ; La critique de cinéma sous l’Occupation (2003) ; Chroniques coloniales (2001) ; Ella Fitzgerald, une grande dame du jazz (1999).
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