111 Girls wins Best Film Award at Pan Asia Film Festival

A proud moment for Nahid Ghobadi.

The directorial debut by Iranian film director Nahid Ghobadi (sister of the renowned film-maker Bahman Ghobadi) has been dubbed by jurors Nikki Bedi, Hardeep Singh Kohli - Executive Director of the Iran Heritage Foundation - Haleh Anvari and BBC Diplomatic Correspondent Bridget Kendall, as the Best Film of the Pan Asia Film Festival 2013.

In separate interviews conducted in the first week of PAFF 2013, I asked festival director Sumantro Ghose and Artistic Director Alison Poltock if they felt strongly about a particular film in the line-up. They both said that 111 Girls was their film of choice. Ghose made his preference for the genre of Iranian film very clear and added

If you watch one frame, you instantly recognise it as Iranian. There’s an astonishing beauty which combines melancholy and existentialism… there’s even touches of humour in there as well. Considering what is happening in Iran right now, it’s a real shame to see how Iran is becoming increasingly cut off from global contexts when you have these fantastic film-makers who want their films seen, to engage in a global dialogue.

Despite challenges faced by the organisers of running a film festival on a tight budget, Ghose has emphasised how much the festival has grown each year. They are expanding the screening locations to other cities such as Leeds and Glasgow, have received much more attention from distributors in the British film industry this year. Both Poltock and Ghose stressed their inclination toward independent films over large studios in gaining a more accurate representation of emerging and established talent across the Asian film industry. Ghose added that they travel to international film festivals such as Cannes and Busan (in Korea) to select films for the festival as themes of migration and cultural identity are of increasing relevance as a context of production, the films placed emphasis on multiple cultural identities as a modern social condition on account of the amplifyinhg dialogue of contemporary society with past tradition.

Ghose added, candidly: “You can view the film as a stunningly beautiful cinematic piece one level, but there’s so much in that film that lends itself to deeper interpretations.” He added that the shared experience of cinema, bringing together an audience that spans a wide cultural diaspora “is a real thrill.” I couldn’t agree more.

On a parting note, I think 111 Girls was definitely deserving of the title. It functioned as an insightful, contemporary take on Iranian geopolitics - especially due to its setting in Iranian Kurdistan which has been imbricated in the recent events that have taken place in Syria, and it is a remarkable cornerstone for the growing Ghobadi legacy.

Inside the theatre. Image Courtesy: Film Culture 360
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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.