A Critical Approach to “Persepolis” and “Divine Intervention”

A Critical Approach to the Movies “Persepolis” and “Divine Intervention”
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A Critical Approach to the Movies “Persepolis” and “Divine Intervention”
Introduction
Satrapi’s ‘Persepolis’ and Suleiman’s ‘Divine Intervention’ are two well-honored movies depicting two countries in significant socio-political conflicts, emphasizing survival or minorities during two prominent historical events. ‘Persepolis’ as a graphic film portrays Iran's social, cultural, and political aspects and Iranians' psychological struggle under the Islamic Revolution. Like the protagonist of her autobiographical novel, Marjane becomes the symbol of inner and outer skirmishes penetrating the society in 1979 in the name of religion. Meanwhile, ‘Divine Intervention’ as a movie, takes us to the miserable social, traditional, and political crisis in Palestine under Israeli occupation. Here, the characters convey social and political instability and the need for migration under the extreme of crisis.
Persepolis
The graphic novel Persepolis by Merjane Satrapi represents the social, cultural, and political upheaval in Iran during and after the Iranian Revolution in 1979 (Naficy, 2001). Marjane's autobiographical story in the novel leads us back to Iran's history when they had simple, regular patterns of life without religious restrictions, particularly on women of society. Marjane, a product of two potential cultures and background, represents the desire for freedom and audacity against authority. Besides, she is also a symbol of women and minorities afflicted by the Islamic Revolution in Iran and the war's aftermath with Iraq. Apart from gender prejudice, the story also brings forth class discrimination under the revolution. Although all classes affected the changing regime, the lower class underwent the severest social and financial crisis. For example, Mehri, the maid, represents the ‘inferior’ class in need of justice (School of San Francisco, 2007). Another theme of the novel is identity, which asserts its importance through Marjane's inner, emotional conflict (Naficy, 2001). From her childhood to adulthood, caught by westernized civilization on the one hand and the suppressions of freedom in Iran on the other hand, Marjane fights with an inner enemy embodying a protest against the Islamic Revolution (School of San Francisco, 2007). She is perplexed by two different backgrounds lending hands in her physical and psychological growth. Finally, she appears to be no more confused, but courageous migrant to Iran from France to assert her identity in Iran's highly critical cultural scenario and demanding justice, freedom, anti-sexism, and anti-racism attitudes in society.
Divine Intervention
Elia Suleiman stands for the minority by making his film ‘Divine Interve...