The Day I Became A Woman

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The Day I Became a Woman 1

The Day I Became a Woman

Name

Institution

Course

Instructor

Date
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The Day I Became a Woman

With this movie, Marzieh Meshkini has created a masterpiece that depicts an Iranian

woman's struggle throughout her life. The film shows life and the transformation an Iranian girl

must go through. Every time we watch an Iranian movie, an intimate scene depicts a woman's

struggle in society. The film portrays the longing feelings of the Iranian ladies whose souls have

been taken, which is no different. The most excellent part about this movie is that there are no

special effects to make people's heads turn or grab their emotions; instead, the character's

innocence and genuine feelings are more than enough to move viewers.

It is more than a movie; it is about a woman's fight. It weaves together several tales to

provide a unique experience that cannot be duplicated. You applaud the ladies who must endure

this throughout their life and yet manage to maintain a grin that is worthy of admiration. You

also feel sorry for them. The first tale is about a little girl called Havva and how she comes to

terms with the changes she will experience when she turns nine. Because of the severe political

constraints put on women beyond a certain age, she is aware that she won't be permitted to

engage in certain activities the next day (Farahmand, 2010).

Childhood innocence, strict social norms, and Iran's feared character are all a part of it. In

the second tale, a young woman describes her challenges in maintaining her marriage. The

website is attractive to check out since we can witness a group of covered women pushing each

other to run the race. Cycling races appear like a liberating activity for the completely covered

ladies. They seem to be trying to avoid something else by pedaling so intently. She isn't only

competing in a cycling race, but it looks like she is evading destiny. The ladies in front of the

pack are instructed to halt and reverse course. She keeps doing it.
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There is also a metaphor here because no matter how hard they try or how far they may

travel, they will never be able to escape their lives, and these ladies have nowhere to go. They

are adamant about leaving their current situation, yet they cannot do so since there is nowhere

else they can go. They know they cannot escape civilization or the water since both are their

boundaries. Even though she could not complete her endeavor, it is clear that women have been

working toward a goal. The third tale is quite comical yet has a lot of more profound value.

A gang of neighborhood lads assist her in setting things in motion and attempt to enjoy

the comforts while the woman is away. The film is incredibly engaging and a perfect example of

how Iranian cinema depicts the difficulties of women in an oppressive society. Marzieh

Meshkini is the film's director; no, there isn't a star-studded cast. The most delicate aspect of the

movie is that the characters have already described everything that will happen in it; therefore,

there is no need for anything more to happen.

The girl knows that she will have to part ways with her pals when she reaches the

appropriate age. Still, she also understands that she must take all necessary precautions since her

mother and grandmother have been doing so to shield her from society. The grandmother also

removes the scarf when necessary to prevent her from seducing a guy, reminding her that she is a

woman and that, to survive in society, she must abide by all the norms. The film is devoted to

describing the challenges faced by Iranian women of all ages, yet it never once addresses the

manifestation of female oppression.


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References

Farahmand, A. (2010). Disentangling the international festival circuit: Genre and Iranian cinema.

Global art cinema: New theories and histories, 263-81.

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