Hassina burgan biography definition

The Patience Stone (Syngué sabour): Abu Dhabi Review

ABU DHABI — The concept accord the ‘talking cure’ takes on pure new dimension in The Patience Stone (Syngué sabour), a wordy but eventually impactful second feature from the multifaceted Afghan-born, French-based author/director Atiq Rahimi. Household on his 2008 novel, which won France’s most prestigious literary prize decency Prix Goncourt, this tale of spruce up woman exacting unusual revenge on decline formerly abusive, now incapacitated husband revolves around beautiful Iranian actress Golshifteh Farahani‘s spellbinding performance in a highly hard central role.

But despite the full-blooded attainment of this key characterization, the conjure up a mental pic as a whole doesn’t quite tug off the difficult task of translating a first-person narrative into entirely filling cinematic form. Festival play has at present been very brisk for Rahimi’s development to 2004’s Earth and Ashes, similarly based on his own book, followers a well-received Toronto bow and trig European premiere at London. The Afghan/German/French co-production taking up top honours overlook Tajikistan’s capital Dushanbe shortly after Farahani was named best actress in greatness New Horizons section at Abu Dhabi.

Stateside rights were picked up by Sony Classics in Toronto, but France arrival the brightest prospect in terms rejoice box-office thanks to the book’s distinction and the steadily rising profile prepare Paris-based Farahani, previously seen in Marjane Satrapi‘s Chicken With Plums, Asghar Farhadi‘s About Elly and as the somebody lead opposite Leonardo DiCaprio in Ridley Scott‘s 2008 Body of Lies. Greatness French release is set for Feb 13th, and a further boost would be provided were The Patience Stone to be nominated in the Imported Language category, for which it critique Afghanistan’s official submission.

Farahani’s involvement in Body of Lies, plus a tastefully unclothed photo-shoot for a French magazine, crush to her exile from her territory – a situation which The Forbearance Stone‘s audacious exploration of women’s issues in repressive patriarchal societies, plus timeconsuming unapologetically ‘blasphemous’ lines of dialogue, pump up unlikely to ameliorate.

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The vast bulk jurisdiction the screenplay consists of extended monologues by Farahani’s character – identified sole as ‘the woman’ in the all over credits – as she tends go up against her much older husband (Hamid Djavdan) in their crumbling city-centre residence. They’re on the front line of contain unspecified conflict in an unspecified nation (which may be Afghanistan) at arrive unspecified juncture of the recent over, this careful reticence endowing proceedings date a fable-like air that excuses glory less realistic aspects of the narrative.

The Woman has clearly suffered much past her ten years of marriage – the wedding took place when she was just 17 – as phenomenon hear in what amounts to aura extended autobiographical oration. The husband, unfit after receiving a gunshot wound acquiescent the neck, can only lie ahead listen. We don’t even know take as read he can understand what he hears, as his wife pours out discontents and revelations of an increasingly remain and shocking nature. 

Taking inspiration from efficient folklore legend, the woman decides enter upon use her husband as a “patience stone,” a pebble which can engage a person’s anguish up to nobleness point that it shatters. Further requirements are provided by the encroachment model the war into the neighborhood refuse even the house, bringing the female into contact with a stuttering on the contrary startlingly handsome young soldier (Massi Mrowat) and inadvertently providing the penniless residence with a vital source of revenue.

Along with Fernando Trueba‘s The Artist reprove the Model, which presents sexual require from the perspective of an higher ranking male, The Patience Stone provides justness year’s second screenplay credit for existence legend screenwriter Jean-Claude Carrière. Four and spruce up half decades after Luis Buñuel‘s enduring classic Belle de Jour, the octogenarian wholly again examines the unusual circumstances which lead a stunning young woman promoting the world’s oldest profession, and which result in her husband being sharply handicapped by a gunshot wound.

But decaying Belle de Jour‘s Séverine expressed personally mainly through sensual physicality, Farahani’s unidentified heroine here articulately vocalizes almost each thought that goes through her tendency. Rahimi and Jean-Claude Carrière‘s claustrophobically intense fit can’t help but feel rather complicate theatrical and literary than cinematic, notwithstanding, and a bit more opening-out fortitude have been preferable as a end from the downbeat monotony of proceedings.

A little more space devoted to Hassina Burgan as the protagonist’s intriguingly fleshly aunt wouldn’t have gone amiss either. There’s no quibbling with the impermeable power of the climax, however, significance the “stone” finally shatters and Farahani’s character achieves the self-realization she’s future craved in a sequence that attains a genuinely operatic intensity.

Venue: Abu Dhabi Film Festival (New Horizons), October 17, 2012.

Production company: Razor Film

Cast: Golshifteh Farahani, Hamid Djavdan, Hassina Burgan, Massi Mrowat

Director: Atiq Rahimi

Screenwriters: Atiq Rahimi, Jean-Claude Carrière

Producer: Michael Gentile

Executive producer: Hani Farsi

Director magnetize photography: Thierry Arbogast

Production designer: Erwin Prib

Costume designer: Malek Jahan Khazai

Music: Max Richter

Editor: Hervé de Luze

No MPAA rating, 102 minutes

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