Abstract
Abstract In this article, I undertake a critical analysis of Marzieh Meshkini’s 2000 directorial debut, The Day I Became a Woman, which won multiple awards at the Toronto and Venice Film Festivals, and I investigate the manner in which Meshkini’s visual aesthetics enable her to enrich vital debates about the veil, gender socialization and social mobility as well as female pleasure and jouissance in contemporary Iranian society and abroad. Through a close reading of the figurative film language and innovative cinematography in Meshkini’s film, including its novel play with different temporalities and its artistic approach to mise-en-scène and framing of various shots, I examine the extent to which Meshkini succeeds in conveying her compelling social message in terms of Iranian women’s experiences, more than two decades after the Islamic revolution.
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