Titlebook: Cinematic Homelands; The Cultural and Gen Mara Antic Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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Samiratou Dipama,Emel Parlar Dal, independent futures. . concludes with Munis shown again suspended in the air, reliving the metaphorical and liberating moment of her suicide, while the once fearful, traditional Faezeh confidently walks out of the Garden into the unknown. In ., Sara disappears along with the Green Movement itself

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Elizabeth Chacko,Peter H. Gebresident status to the establishment of large and thriving Iranian diasporic communities in the West. It proposes that Iranian diasporic women filmmakers offer a gendered reconfiguring of exilic and diasporic film aesthetics, revisiting issues of cultural in-betweenness and difference from a feminist perspective.

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Olufemi Babarinde,Stephen Wrightth the exilic condition in particular and an exilic filmic “accent,” focusing in particular on the incorporation of protest video footage and tweets to expand on another Deleuze and Guattari concept: the “minor.” The final section examines such stylistic elements and those of previous sections in re

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Samiratou Dipama,Emel Parlar Dalayal of Shirin’s relationships, never reducing them to simplistic dichotomous representations of cultural belonging and sexual identity, but rather offering an intricate and deeply personal perspective on her own intersectional identity. As many elements of the storyline of . are autobiographically