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  • Amina Maher | Film

    I navigate narratives that can´t be told without motion pictures, sound, and control over "time". Maher´s first directorial debut feature and Cristi Puiu feature among Marseille’s FIDLab 2022 projects. Baltic Sea Docs gets under way - Cineuropa HIGHLIGHTS LINKS LETTER TO MY MOTHER Short Film - Trailer TRILOGY - FRAUEN FILM FESTIVAL FIRST FEATURE FILM Schuldenberg Films WATCH LETTER TO MY MOTHER FID LAB Amina Maher, b. 1992, Based in Berlin, Germany BIO/FILMO Short Bio Amina Maher (b. Tehran, 1992) is a filmmaker and artist whose works train her unblinking gaze on the breakdown of the family structure, shame culture, and patriarchal myths. Her films have been part of Cannes Film Festival, San Sebastián International Film Festival, CPH:DOX, Feminale - The International Dortmund | Cologne Women's Film Festival, and Shorts México among many others. Her first short film, Letter to My Mother (20Min 2019), has received worldwide attention with +200 Festival Selections and +50 Awards . Her first directorial feature film has been part of FID Lab Marseille, Dok Fest München Forum, and Baltic Sea Docs in 2022. She has a BA in Film from Limkokwing University in Malaysia and MA In Film Directing from Babelsberg Film University in Germany. AWA PRODUCTIONS Glasgow Shorts - Reviews

  • Contact | Amina Maher Film

    Contact Email: trilogyaminamaher@gmail.com aminamaherfilm@gmail.com Colleague/Intern: carol.isis.me@gmail.com

  • Old Movies | Amina Maher Film

    1. TEN ​ 92 min | Iran, 2002 Child Protagonist: Amina Maher No Human Rights & Children Rights were considered in the creation of this movie. The child Amina Maher was recorded without her knowledge and consent. The filmmaker Abbas Kiarostami used Mania Akbari´s recorded material without consent. Mania Akbari broke her silence that Abbas Kiarostami abused her in different ways for the creation of this film. 2. Ten + Four (10+4) In Dah be alaveh Chahar / 10 + 4, though, circumstances are different: Mania is fighting cancer. She has undergone surgery; she has lost her hair following chemotherapy and no longer wears the compulsory headscarf, and sometimes she is too weak to drive. So the camera follows her to record conversations with friends and family in different spaces, from the gondola she had famously used in her first feature to a hospital bed. Yet, while he body shows the effects of the disease, Akbari is as tough, charismatic, and argumentative as in her previous screen appearances her luminous presence all the more alluring and precious as it becomes a sign of how fragile life itself is. Her cinematic language has been expanded and refined from the rigorous explorations of 20 Fingers, to take into account the unexpected aspects of facing simultaneously death and survival, social stigma and sympathy. Treading an elegant line between documentary and fiction, Akbari takes a daring look at complex social situations that arise in the face of mortality and emerges with a new zest for life. Directed by: Mania Akbari Cast: Mania Akbari, Amin Maher, Roya Akbari, Mina Hamidi, Behnaz Jafari, Maedeh Tahmasebi Produced by: Mania Akbari, Shahram Shahandeh Cinematographers: Mania Akbari, Turaj Aslani, Faraj Heidari, Koohyar Kalari Editors: Mastaneh Mohajer Sound & Mix: Alireza Alavian 77 min | Docufiction | Iran, 2007 Review by Hollywood Reporter Mania Akbari’s second feature 10+4 reproduces the situation and, at least initially, the form – a blurring of the line between documentary and fiction – of Abbas Kiarostami’s 2002 feature Ten, in which Akbari played the protagonist. It opens on the same set-up as Ten, in which Akbari and her then ten-year-old son Amin Maher bicker in the car. Cut to the present; both mother and son are in the same position in the car continuing their argument, but with a twist – Akbari is now directing herself as lead and engaged in a fight against breast cancer that will end with her having a double mastectomy. She is thirty years old.

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