OFF: Screening and Discussion with Maryam Tafakori
Maryam Tafakory is a visual artist and filmmaker born in Iran. Her work combines poetry, found footage, and reflective documentary. She uses film collage, verse, and archival sound and imagery to create a dynamic dialogue around themes such as memory, identity, power, censorship, intimacy, and resistance.
Short Iranian Films (66’)
Director: Maryam Tafakory
(March 28 / 20:00) IRANI BAG
(March 28 / 20:00) NAZARBAZI
(March 28 / 20:00) CODE NAMES
(March 28 / 20:00) MAST-DEL
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(March 28 / 20:00) IRANI BAG
March 28 (Friday) 20:00
MCA
IRANI BAG (2020)
dir. Maryam Tafakory, GB, SG, 6’
In Iran, on camera, the modest handbag is often used as a surrogate for human touch. Using excerpts from films shot between 1990 and 2018, Iranian Handbag is a video essay on this theme. Presented in split screen with suggestive typography, it revisits the presumed innocence of handbags in post-revolutionary Iranian cinema. -
(March 28 / 20:00) NAZARBAZI
March 28 (Friday) 20:00
MCA
NAZARBAZI (نظربازی , 2022)
dir. Maryam Tafakory, IR, GB, 19’
After the Islamic Revolution of 1979, Iran imposed a ban on depicting physical contact between men and women on screen. Since then, filmmakers have turned to cinematic sleight of hand—especially the play of glances—to convey tension. Nazarbazi collages such moments into a provocative poem about love and desire on the other side of the veil and censorship. -
(March 28 / 20:00) CODE NAMES
March 28 (Friday) 20:00
MCA
CODE NAMES (2022)
dir. Maryam Tafakory, IR, GB, 14’
A cinematic collage in which documentary elements, archival footage, and found material intertwine with the politics of subordination to once again explore familiar aspects of post-revolutionary Iranian cinema—torn between the inertia of tradition on one side and the longing for artistic freedom on the other. -
(March 28 / 20:00) MAST-DEL
March 28 (Friday) 20:00
MCA
MAST-DEL (2023)
dir. Maryam Tafakory, IR, GB, 17’
Two women lie in bed. As the wind beats against the window, one recalls a seemingly ordinary date with a boy from her early youth. The scene she describes is too traumatic to be conveyed through images. Counter-shots layer over one another, while words roll across them—trying to fill certain gaps in memory, certain erasures, certain limits of representation and of the self…