We have the grandmother as all grandmothers do tell tall tales so it’s more like a spaghetti western and then you have the mother who demands to tell her own story and that’s more like an Iranian neorealist slower film. You have the daughter’s point of view which is more 80’s/90’s pop-feeling. I think I use that structure of understanding the secret from the three generations of a woman’s point of view, as a way to bind different timelines. They came because they were escaping a scandal. Your parents didn’t come to America because they were recruited as doctors because there weren’t enough doctors. (She) learns that we all have a story about why our parents came to America, And she finds out that that’s actually not true. But in the film, the main character learns about a family secret. So that becomes the first impetus of trying to break the barrier of the past, and the present to see how they’re connected. It was certainly challenging! In the film the daughter has problems with her mother, so the grandmother told her that if you want to understand your mother, you should write about her. MARYAM: It’s actually three timelines! It’s actually very challenging, it’s 60’s Iran, 80’s New York and present day New Jersey. You depicted both life and Iran and Brooklyn, how did you approach the challenge of seamlessly weaving these two (three) timelines together? I wanted to make a film that was authentic about our community, but was also fun at the same time!įor sure, you definitely balance the humor and the cultural authenticity within the film! I thought ‘You know what the best way to break through is to create a funny film about our culture that people can relate to.’ So that was my driving force in making a film. It didn’t seem truthful at all to me or my experience, and all the xenophobic rhetoric was coming out a couple years ago. When it finally did come up we were always terrorists or something negative. I really wanted to make something that was reflective of our community, and I grew up not seeing our images in the media at all. What it’s like to grow up in New York, and be of two different cultures, also our family story back home. More than anything it’s a comedy about the Iranian-American experience. It’s about three generations of women, and about me growing up in New York with eight brothers and one bathroom story of the family, secrets and how this strange mother and daughter through the decades until they can finally reconcile with each other, and break the cycle of trauma. MARYAM: It’s more of a semi-biographical film about my family. I know so many people have probably asked you before, can you share what spelling is inspired by your own personal stories from the Persian American experience and community? Can you want to tell me what the story meant to you? I know the Persian Version resonated with so many viewers, including me. Today is all about the Persian Version, how you’ve made this story from the bottom up.
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