ISRAFIL

Original title: ISRAFIL
International title: ISRAFIL
Type: Fiction, Second Feature

CAST
*  Hedieh Tehrani…(Mahi)
*  Pejman Bazeghi…(Behrooz)
*  Hoda Zeinolabedin…(Sara)
MERILA ZAREI…(Taji)
*  Pouria Rahimi Sam…(Ali)

CREW
Director: Ida Panahandeh
Screenplay: Arsalan Amiri & Ida Panahandeh
Director of Photography: Morteza Gheidi
Editing: Hayedeh Safiyari
Music:  Majid Pousti
Sound Recorder: Jahangir Mirshekari & Mehdi Ebrahimzadeh
Sound Mixer: Hossein Abolsedgh
Set Designer: Keyvan Moghadam
Costume Designer: Sara Samiey
Make-Up: Soudabeh Khosravi
Still Photographer: Omid Salehi

Executive producer: Hamed Parvinkhosravi
Production Manager: Hossein Beshgard
Producer: Mastaneh Mohajer
Production Company: Avaye Nafas Studio

Shooting format: Apple ProRes 444 / 3.2k
Camera: ALEXA XR
Lenses: Zeiss Master Prime, Angenieux

Screening format: DCP
Sound: 5.1
Ratio: 1.85:1; Some Scenes: 2.35:1 & 2:1
Original version: Persian
Running time: 100 min
Year: 2017

Fiction – Colour – Second Feature – Iran.

Synopsis:
Mahi is a widow mourning the death of her only son. One day she bumps into Behrooz, her teenage sweetheart, who had left Iran following the scandal of his relationship with her.
Despite their families’ objections, the previous relationship begins to re-assert itself.
Mahi, however, finds out that Behrooz is emotionally involved with a young woman, Sara, who in turn  learns of her fiancé’s previous love.
Sara is now in two minds about  marrying Behrooz and emigrating to Canada. On the horns of these emotional entanglements the three characters have to make decisions not only about their emotions, but also their future lives.

          Poster Israfil

Director’s statement:
Making my second feature was very challenging after the well-received Nahid. I didn’t want the success of my first feature to inhibit me from innovating in my second. Indeed, I wanted to use a more creative visual language and employ a novel cinematic narration.
Through my direction and film editing, I’ve tried to give each character a distinct dimension, but all within the context of a uniform visual and audio style. In this way I hope to portray a love story that is accessible to people of all cultures, whilst also maintaining all that is specific to Iran.
The Israfil of the title refers to the archangel who brings the dead back to life on Resurrection day. In our narrative it is love that is rekindled.
The film focuses on three main characters and their interpretation of events: two women from different cultures and generations who love a man each in their own way.
Rather than giving in to traditional values, they redefine love through today’s emotional requirements. Israfil is thus a modern love story.

Festivals:
*-61st BFI London Film Festival, UK. October 4-15, 2017. Official Selection-LOVE
*-7th Iranian Film Festival Australia, MELBOURNE, BRISBANE, SYDNEY, ADELAIDE, PERTH, CANBERRA. October 26-November 17, 2017. ‘Competition’ section
*-Hong Kong Asian Film Festival. October 31-November 20, 2017. « Non Competitive Festival »
*-2nd Sheed Persian Film Festival, Dallas, USA. November 10-12, 2017. « Competition » section
*-3rd CineIran Festival, Toronto, Canada. November 17-19, 2017. « Competition » section

Awards:
* Winner of: *NETPAC Award* at the 7th Iranian Film Festival Australia.
Jury members: Kiki Fung, Frances Bonner, Michelle Langford
Jury comment: In a film that evokes the elegance of classical Iranian drama, mixed emotions of love, longing and regret are quietly moving; the reflection on women’s condition poignantly revealing. For its thoughtful narrative structure and its gentle and poetic use of cinematic space, the jury unanimously gives the NETPAC Award for Best Film to Israfil.
* Winner of:  *Audience Award* at the 2nd Sheed Persian Film Festival, Dallas, USA, 2017.