In this interview, Iranian filmmaker Maryam Tafakory discusses how she abstracts and rewrites post-revolutionary Iranian cinema to reveal the queer bodies and untold stories forced into invisibility
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راز دل Razeh-del. Courtesy of the artist and IDA |
by Arta Barzanji, International Documentary Association (IDA)
Maryam Tafakory has emerged as one of the most original voices in nonfiction film in recent years, showcasing a body of work that is both consistent in quality and vision while evolving with each entry. Employing essayistic, collage-based, and experimental practices, Tafakory often draws on archival extracts from post-revolutionary Iranian cinema to reflect on not only the repressive political regime under which she came of age, but also the restrictive audiovisual regime that frequently denies the existence and expression of female and queer subjectivities.
In Irani Bag (2021), a multitude of clips reveal purses and bags as conduits of the impossible touch between men and women on screen. Nazarbazi (2022) examines the play of gazes in Iranian cinema, juxtaposing fragments of stolen glances, recurring sounds, and verses of poetry. The result is an impressionistic collage that forgoes a linearly constructed argument conveyed through voiceover in favor of an accumulation of details, fragments, and suggestions.
Tafakory’s latest works, Mast-del (2023) and Razeh-del (2024), further complicate our relationship with pre-existing sounds and images by abstracting them and releasing latent, hitherto unexpressed affects, trapped within.
In a testament to the hybrid nature of her practice, Tafakory’s work has garnered nearly equal attention in the realms of art, film, and essayistic practices, as evident by the range of publications covering her work: Artforum, ArtReview, and Frieze; Film Comment, Senses of Cinema, and Filmmaker; Filmexplorer, Non-Fiction, and Found Footage Magazine. Tafakory received the Film London Jarman Award in 2024, the 17th edition of the annual prize, for “showcasing an artistic voice that is both profound and essential.” This interview has been edited.