For having played bare hair and bodies, the actress has lived in exile in Paris for seven years. She is playing with the latest film by Jafar Panahi.
by Laurent Carpentier
“In Iran, our life is small, but our dreams are immense.” Mina Kavani is running, speaking running, laughing and crying all the same. The actress of the new film by Jafar Panahi, none bear, has the electrical energy of the revolt. “When I was little, if you asked one of us, none imagined a future that is not extraordinary [of his arms, the thirty -something made a broad gesture]. My dreams were bigger than Me. I thought I was going to conquer the world. “Las, for seven years, Mina Kavani lives exile.
Her story starts well before all that. And begins like a tale: in the Ispahan bazaar, a modest merchant, the old Raffi, held a shop. From his seven children, Ali was the most beautiful and lucky. The young man, footballer, landed in France in 1960. A foot injury ended his career. There remained its very exceptional beauty, says Mina Kavani, whose gray eyes sparkle like blue opals.
One day, in a station in the Alps, we approach the young man. Marc Allégret turns the Ball of the Count of Orgel (1970). Ali Raffi will play his first role there. The continuation takes place with Georges Wilson at the TNP of Villeurbanne (Rhône), with Agnès Varda (one sing, the other not and pleasure of love in Iran, turned at the same time in 1976), before he returned definitively In Iran, in the early 1990s, where he staged and taught theater.
Liberty on the thread
“I can’t tell you about me without talking about my uncle,” apologizes the young woman. In the house of Avenue Tavanir in which she grew up, in the center of Tehran, her parents occupy the second floor, and this maternal uncle, the first. “A house of freedom, a underground place, where artists, writers, intellectuals, where we listened to Bob Dylan and the Pink Floyd.” Although his father came from a large family of the bourgeoisie (the Grand- Father was the private pilot of the chah), the parents made the revolution, and the father even lived in the United States for a long time. Of religion, point.
When she returns from school with her uniform of the Islamic Republic, the child goes to the old single uncle, who talks to her about Chéreau and Mnouchkine, Bergman and Tchekhov, and who goes, when she has 17 In the first role in He is not snowing in Egypt, an ironic wink to the Iranian diet in which freedom is played on the wire. The child, already, dreams of this France whose language she learns in a clandestine way with a professor who shows her films of Godard.
You have 66.46% of this article to read. The continuation is reserved for subscribers.