Sarah kazemy dating dating vintage vogue patterns
This isn’t a feminist film or a lesbian film, as so many people are quick to brand it.
It’s a film about people, family, and their relationships with each other and with themselves. It is about finding yourself and being true to yourself no matter if you are a men, a women, a heterosexual or homosexual.
It was Sarah’s first time on camera, as well, so we carried each other and I think that shows in the film. I know when you initially auditioned you were only given one scene to read—what was your first impression when you finally read the full script for?
Nikohl: There were a lot of hints in that little scene.
We had so much in common—we both were raised in a Western country but are very close to our cultural traditions of our country and we both had travelled to Iran each summer…
The film is unique because it’s a coming-of-age story that addresses the consequences of trying to find oneself within a country that prohibits a lot of personal freedom, particularly for women.
I do believe though that when you really want something, when you feel completely passionate about something, fear is a secondary emotion.
I had too big a job to do to let fear get in my way, and it definitely helped to have such a supporting cast and crew.
At the beginning I had hard time talking about this project around [my mom] (my mum is French-Algerian), and, especially to my dad, who still has strong ties there.
Do you see this as a feminist film or something that extends beyond women to all of society?
Nikohl: No, I can’t say I really see this as a feminist film.
It speaks to so my different people, in my opinion.
Everyone is a victim of their circumstance in this story.