A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Search This Blog

Sunday, November 30, 2025

The Sealed Soil (Marva Nabili, 1977)

Flora Shabaviz in The Sealed Soil

Cast: Flora Shabaviz. Screenplay: Marva Nabili. Cinematography: Barbod Taheri. Music: Hooreh. 

With its static camera, long takes, and lack of a conventional plot, Marva Nabili's The Sealed Soil has earned comparisons to Chantal Akerman's Jeanne Dielman (1975). It has the same unrelenting focus on a central figure, in this case Rooy-Bekhir (Flora Shabaviz), an 18-year-old woman in an Iranian village, who resists pressures from her family and her society to enter an arranged marriage. She is told at one point that her mother was engaged to be married at the age of 7. Eventually, the pressure to conform breaks her down. Much of the film focuses on her daily life in a place that seems suspended in time -- it's a film in which ambience rather than incident dominates. Made on the sly, with Shabaviz the only professional actor in its cast, the film was smuggled out of Iran (where it has never been exhibited) and edited back at the City University of New York, where Nabili was a film student. For those willing to endure its lack of narrative urgency, The Sealed Soil has a quiet power.