This may be a great comedy-drama about immigrant families, but don’t get it confused with a certain recent Best Picture winner—this movie just might be better.
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.movie.
Unlike other stories focused on tensions between mothers and daughters, we don’t spend much of the film watching Leila and Shireen getting into screaming matches or even the specifics of their vaguely fraught dynamic. Early on in the film, we see a flashback of Leila bringing her current ex-wife to her family’s home for a holiday dinner, before her mother orders them to leave.
Yet watching Shireen struggle to show affection to her only daughter, while she easily mingles with her five sons, paints a clear-enough portrait of their disconnect. There’s a popular assumption that women are tougher on their daughters than their sons because they can immediately see themselves in them, and the film plays into that. Viewers can also interpret a level of resentment Shireen has towards Leila because of the privilege her sacrifices have afforded her.
At the same time, in the film’s present-day timeline, Leila is figuring out whether she wants to pursue a relationship with the father of the child. Her father and Shireen’s husband, Ali Reza , is also waiting on a heart transplant. The subplot of Ali Reza’s hospitalization is curiously forgettable in this crowded family comedy. However, the reality of his heart condition becomes crucial in flashbacks, as we watch Shireen become the main provider for their family and witness the hurdles non-U.S.
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