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"Leila" (Layla Mohammadi) has a sort of love/hate relationship with her mother "Shireen" (Kamand Shafieisabet who morphs into the formidable Niousha Noor) that seems to centre around the former's more independent, and lesbian, lifestyle in the United States to where the family emigrated from Iran. What's bringing all this familial strife to an head is the fact that her father is suffering from heart problems in hospital. They are all gathering around to be supportive and "Shireen" can barely suffer her daughter to remain in the same room. Now "Leila" has been told their arrival in America was due to a doctor shortage following the Vietnam war, but a casual conversation with her grandmother (Bella Warda) introduces the idea of a "scandal" into the proceedings. She doesn't get an immediate explanation, but gradually she is filled in on a scenario that isn't quite as she'd been led to believe. It appears that her parents started out in a remote part of their homeland and that their early marriage wasn't exactly "straightforward". What now ensues bares then brings together the threads of the lives of these two women as they both develop the strong character traits that explains rather well the reasons for the current combativeness. A Halloween one-night-stand with actor "Max" (Tom Byrne) further complicates things as we head to a frenetic conclusion that is all pretty predictable. Initially, this offers us quite an interesting look at contrasting cultures and generational aspirations, but otherwise it's not really very funny, plays to a load of stereotypes - she has nine brothers so every box can be ticked, and I found the last few scenes really quite annoyingly selfish. It's an OK watch this, but you'll never remember it.
Shirin is struggling to become an ideal Persian daughter, politically correct bisexual and hip young Brooklynite but fails miserably in her attempt at all identities.
A transparent look into the life of Iranian immigrants in America. Sholeh and her husband Nasser carry out their evening routine in a ritual they are both accustomed to but nonetheless deeply grateful for.
Tucker and Hamid are going to be grandfathers for the first time, but only if they can come together long enough to save their first-born grandchild.
In the aftermath of a breakup, a struggling filmmaker becomes seduced by his therapist while his ex-girlfriend grapples with her identity and where to go next.
A young nurse ultimately wants to become a nun. She arrives in a village and falls in love with a man. But the man's father makes all the arrangements for his marriage without telling him.
A boy must come to terms with the harsh reality of his immigrant status when his brother alarmingly doesn't come home.
Murali and Shakthi are in love with each other. But unfortunately, his father disapproves of their relationship and he is forced to marry another woman.
“En Avant” highlights the internal struggle of a Black ballerina with self-acceptance as she faces racism in a white-dominated art form. It tells the story of one's battle with self-love through black-and-white imagery. After being cast in the lead role of a professional ballet, Ragan is pressured by the ballet’s director to lighten her skin with make-up, in order to be consistent with the white dancers on stage. She reluctantly goes along with the request, but with each performance in the lighter make-up, she feels more degraded. When a young adoring fan tells her she wants to be just like her, the dancer cannot continue to perform feeling such shame. She makes a decision to be authentic, and dance freely, in her own skin.
Death comes knocking. When Max’s parents are out of town, he and his friends planned to have the party of their lives. They did not plan for the party of their deaths. They will face sheer horror when the doors in the house all come to life. Knock knock.
Scoped Out was created as part of the “Without Precedent” 48 Hour Film Fest during the Covid-19 Quarantine. Participants were challenged to create a short film in 48 hours without leaving their homes.