WE ARE ALL FINE (MA HAMEH KHOUBIM)

Iran, 2005, 91 minutes, Colour.
Directed by Bizhan Mirbaqeri.

A first feature by animator and documentarist, Bizhan Mirbaqeri . This film has a narrow focus on an important theme. What if a stranger arrived at the door one day with news of the eldest son who left the country six years earlier and has not been heard of for three years? What if the stranger asked the family to make a video which could be taken to the son? How would mother and father react? especially if the father is 60 and terminally ill, the mother one of those who dotes on the missing son to the neglect of the rest of the family? and, if the older sister resents the absent brother and his abandoned wife and daughter are dependent on his family? and, if the younger son makes the video, sometimes photographing without the others being aware, sometimes getting formal talking heads? What would the family learn about themselves? Anything? Nothing?

The film recreates daily life in a household, sometimes calmly and sometimes more agitatedly through the lens of the video camera. All sorts of tensions appear as well as the bonds. Finally, the young son does his interview, an opportunity to comment on the reality of the situation and the unrealities of the mother's reassurance that 'we are all fine'. The young son also voices the frustrations of Iranian family life, of prospects for success at home and the compelling temptation to move away, to cut oneself free.

An experience that is both emotional and thoughtful.

1. The impact of the film, Iranian issues, migration issues? Domestic issues? Soap opera aspects of the plot and characters? With more depth?

2. The city of Teheran, the streets and homes, the shops? The normal life in an Iranian family? The musical score?

3. The title, as expressed by the mother on the video, the ironies and Omid and his comments?

4. The use of the video, the secret filming of the discussions in the family, the open interviews? The visuals of the video recording? Showing the recording? Shaping the film for the missing brother, the editing, the censor looking at it at the end? The overall effect for the family, for the audience?

5. The portrait of the family, Nahid and her work at the shop? The father and his illness? The mother and her continued concern? Vida, the abandoned wife, her devotion to her daughter? Omid, his age, the prospect of his military service, the issue of a university? The grandfather and his being unable to speak? The various scenes establishing each member of the family, the bonds between them, the tension?

6. The sudden arrival of the visitor, his card and photo of the missing Jamshid? The mother’s reaction, the delight in seeing a portrait of her son? The information about him, the lack of information? The background story of his departure six years earlier, his father giving himt money and permission to go, his still having the inheritance of half of the house? His work overseas, sending money, especially for his father’s operation? Nahid and her suspicion? The family and their worry, the discussions whether it was genuine or not? The phone number, Omid and his ringing, the fact that the stranger had gone from his house, no forwarding address?

7. The effect on Omid of making the film, observing his family? The effect on each of the members and their willingness or unwillingness to be filmed?

8. The father, his appearance, ill, the doctor, Nahid and her having to spend so much money on the tablets, his emotional plea, his explanation to his son? His going over what his son had done, seeing him as selfish? His own illness, dying, the fact that he knew and the family thought he didn't know? His finally going for the walk?

9. The mother, busy about the house, grieving for her absent son, willing to sell her gold and jewellery for Jamshid but not for Omid? Her behaviour with all the members of the family, in command, cooking, the meals? Her serious aspects? Her final speech to the video where everything was fine and her wanting her son to come home?

10. The genial grandfather, receiving the visitor at the door, his inability to speak, taking the grandchild for walks?

11. Vida, sad, her love for her husband, her care for her daughter? Divorce issues? Being on her own, wanting a job? A decent woman?

12. Nahid, hard, the martyr for the family, at work at the shop, her duties, her relationship with the man at the shop? Her need to establish a life for herself?

13. Omid, his age, hopes, the prospect of the army? The camera, earnest, filming the family? His final speech to the camera, his assessment of his father’s self-preoccupation, his mother having a justification for being sad all the time, for Nahid to be the martyr, the fact that they really didn't take care of Vida and her daughter? His own anxieties, secrets, the university, his wanting to do exactly the same as his brother had done, understanding his brother’s need to get out of Iran?

14. Leila, the drug addict, marriages, the neighbours?

15. Emigration, life in Iran, the pressures on young men, their wanting to get out, to earn money, but also to have some personal freedom? The future of the family, of each individual? Would Jamshid ever return?