Each body is a political emblem. So are each kiss and caress. My body, as well as that of women of Iran, allude to a history which combines understanding and ignorance of the past. Our bodies also belong to the women of the past. The bodies have historical intelligence. They have historical memory. My body was formed in a country of sharp contrasts, of two revolutions, of lands captured and lost, of things gained and lost, of martyrs and the richness of the soil, of conflicting beauty and ugliness, living hand in hand. In all my films, the drama is around the clash between two ideas manifested in two bodies. These allude to more essential questions. Also exploring the two sides of the conflict gives us an insight into their unique socio-cultural identities.
An artist’s country is the art world itself. Her home is her creativity, and her bedroom, the space of ideas and thoughts. And wherever I go, these are with me. The most important thing is to find the tools for expressing those ideas. The past is permanently carved in our memories and bodies and sometimes being separated and looking from afar is better for analysing and examining. Some of the shortcomings in my new life have given new meanings to what I do.