Yiget Eken/Sony Pictures Classics
The seemingly minor-key, indie rom-com The Persian Version (Oct. 20) is a deceivingly epic movie. Just when you’ve settled in to watch a young woman navigate life after a breakup, director and writer Maryam Kesharvarz delivers a multi-generational, mother-daughter story spanning over five decades and two continents, while involving a revolving door of eccentric characters—including a straight drag queen and five rowdy brothers.
Keshravarz’s third narrative film, which made a splash at this year’s Sundance Film Festival, is a tragicomic tale with as much exposition and backstory as a Martin Scorsese movie. (In fact, it would probably benefit from the runtime of one.) This overly ambitious storytelling can occasionally veer into superfluous territory and feel a bit cramped; there were a few times during the first hour where I asked myself, “Where are we going with all of this?” However, The Persian Version manages to stick the landing with a profound and tear-jerking ending. It’s a solid showing for Keshavarz as a noteworthy filmmaker and a welcome entry into the “Movies That Make You Want to Call Your Mom” canon.
The Persian Version is initially set in the early 2000s, when a lesbian, Iranian-American woman named Leila (Layla Mohammadi) gets pregnant by a British drag performer (Tom Bryne) fresh off the heels of her divorce. Oddly enough, this plot point seems to become a footnote, as the movie shifts its focus toward Leila’s stern, industrious mother, Shireen (Niousha Noor). Her childhood in 1970s Iran and the subsequent hardships she experienced as an immigrant in the U.S. take precedence. This ultimately for the betterment of the film, as Leila is not the most riveting protagonist. Plus, Noor’s multi-layered performance is the main highlight and grounding force of the movie.