PERSEPOLIS. Nuanced, multifaceted story about growing up
The formula of animated cinema typically serves as an escape from reality, a turn toward the world of imagination, distancing itself from everything around us. The plots of animated films often unfold beyond the constraints of time and history. They are not direct representations of known events, objects, or people but are closer to our visions and dreams—those things that lie beyond waking life. It’s an immaterial world that imposes a specific perspective on the viewer, one that relies on a certain conventionality and distance: in the portrayal of characters, the creation of spaces, and the progression of the story. This is why creators of animated cinema rarely choose to base their stories on factual events. Memoirs, journals (with the notable exception of the acclaimed Waltz with Bashir), war accounts—whether documentary or fictional—rarely become the subject of such films. Animated cinema operates with specific narrative tools that are better suited to the language of abstraction. This doesn’t mean, of course, that it cannot capture human, earthly experiences of life—it often does. But it frames them in quotation marks and avoids literalism.
This is precisely why Persepolis, by Marjane Satrapi and Vincent Paronnaud, is such an exceptional and refreshingly unique work. The creators use animation to tell the story of the Iranian Revolution of the 1970s and a young girl named Marjane coming of age during that tumultuous time. The film is both her biography and an adaptation of Marjane Satrapi’s graphic novel, which previously depicted her turbulent youth through this medium.
The main character lives with her parents in Tehran. She also shares a very strong emotional bond with her grandmother, who serves as her oracle and greatest authority. Her family does everything in their power to shield her from the sights of the civil war and to raise her to be a worldly, open-minded individual. Her guardians are by no means fundamentalists. Nevertheless, the girl is swept up by the social unrest and naively expresses her opposition to the Shah’s rule—for example, by taking revenge on a schoolmate. When Marjane reaches her teenage years, her parents decide to send her to Vienna to complete her education away from the oppressive Iranian regime.
Persepolis doesn’t shy away from addressing challenging political issues. It presents images of the confrontation between the enraged populace and the Shah’s army. These scenes are often portrayed in wide shots, with demonstrators depicted as a faceless mass, and tanks and soldiers advancing with enormous, spherical, white eyes. The filmmakers clearly sympathize with the protesters, glorifying their sacrifices. Satrapi and Paronnaud also take the time to delve into history, presenting their vision of the events that led to the ongoing internal conflict. They attribute much of the blame to Western countries, which interfered in Iran’s political system.
Marjane’s uncle plays a crucial role in shaping her political awareness. Recently released after nine years of imprisonment and continuous torture, he represents the trauma experienced by many in society. The filmmakers portray wartime society on multiple levels: from violent street clashes to the trauma of victims, and families living in constant fear. Each of these themes is depicted using different expressive techniques. The street confrontations, for instance, are aesthetically reminiscent of poster art, relying on shapes and strong contrasts. It’s a dynamic, overwhelming, yet visually fascinating sequence.
Despite its somber tone, Persepolis is one of the most visually striking contemporary animations.
At other times, a simple family discussion suffices to convey the horrors of torture. A sense of unease is evoked at the lowest level by the interplay of light and shadow and the staging itself, suggesting that every character might be under surveillance or being watched. Satrapi and Paronnaud constantly engage the viewer, drawing their attention in an artful way.
For Marjane, Europe is also far from an ideal place. While Iran was stifling with its radicalism, the inhabitants of Vienna are portrayed as hypocrites and fools, still clinging to the era of counterculture. Cultural and gender stereotypes remain entrenched there. The social freedoms and ability to express her opinions are not compelling enough reasons for Marjane to remain on the continent. Her patriotic feelings and desire to return to her parents grow stronger.
Persepolis is a nuanced, multifaceted story about growing up, building a moral backbone, and developing a hierarchy of values. The filmmakers leave no aspect untouched, addressing the social context and political changes that profoundly shape Marjane’s behavior. The bond between Marjane and her family, expressed through both fulfilled and unfulfilled commitments, plays an essential role. The two directors also delve into the protagonist’s intimate life, portraying her frustrations over failed relationships and moments of youthful excitement from her first romances.
We also gain insight into Marjane’s spiritual life. On this level, the filmmakers incorporate some humor, deliberately employing childlike naivety in depicting the Creator. God—difficult to associate with any particular religion—appears in the protagonist’s dreams. He is an older man with a beard made of clouds, dwelling in their midst. He serves as Marjane’s motivator and, at one point, her last resort.
Persepolis offers a rich, intriguing depiction of that era from both a historical and social perspective. It also provides an exceptional, multifaceted psychological portrait of the main character. This black-and-white animation exhaustively portrays a world full of colors and shades of gray.