Rise in Cinema: Films, Success, and Recognition
Shahrazad quickly became a familiar face in Iranian cinema, particularly during the 1970s, a time when the Iranian film industry was thriving despite political and social turbulence. The cinema of this period was deeply influenced by Italian neorealism and French New Wave movements, with filmmakers like Masoud Kimiyai and Darius Mehrjui spearheading the New Wave of Iranian cinema.
While her early roles often pigeonholed her as a dancer or villain, Shahrazad gradually began to showcase her versatile acting abilities. Her roles in Tangna (1973) and Fourth Day Morning (1971) were particularly significant in her career. The latter earned her an award at the Sepas Festival, which was one of the most prestigious film festivals in Iran at the time. Shahrazad’s ability to bring depth and complexity to her characters resonated with audiences and critics alike.
Despite her successes, Shahrazad was critical of the misogynistic portrayal of women in Iranian cinema. Women were often depicted in reductive roles, serving primarily as accessories to male-driven narratives. Frustrated by this, Shahrazad began to distance herself from mainstream cinema by 1973 (1352 in the Iranian calendar).
Shift to Filmmaking and Poetry: A Defiant Voice for Women
In 1973, at the height of her acting career, Shahrazad decided to leave mainstream cinema in protest of the objectification and stereotypical portrayal of women in films. She joined the Azad Cinema Group, an independent filmmaking collective that focused on creating films outside the commercial constraints of the Iranian film industry. Through this group, Shahrazad began exploring the realm of filmmaking herself, becoming one of the first female filmmakers in Iran.
During this period, Shahrazad also turned her attention to writing and poetry, another medium through which she could express her thoughts on life, love, and women’s roles in society. She published several poems and short stories in well-known publications such as Aindangan and Kitab Juma, gaining recognition for her lyrical style and socially conscious themes. Her poetry reflected the inner turmoil of Iranian women, navigating between traditional values and the growing desire for independence.
Her poetry collection, We Grow Old with Thirst, was published in 2000 copies by Eshraghi Publishing House. This collection embodied Shahrazad’s ethos as a poet, dealing with themes of longing, struggle, and existential reflection. It was financially supported by Behrooz Vosooghi, a famous Iranian actor, while Amir Naderi, a renowned director, designed the cover. This project brought together some of the most influential cultural figures of the time, reflecting Shahrazad’s importance in the Iranian art scene.