Persepolis and the personal consequences of failure
PERSEPOLIS IS A FILM that does not take itself seriously enough. This is not a comment on the unadorned animation style. Nor am I referring to the narrative of the protagonist: a story of a girl raised in a left-wing milieu that succeeds in arousing quite a bit of empathy in the audience. It is the film’s treatment of depoliticization as a fait accompli and its persistent retreat to the safety of the personal that make it a fascinating symptom of politics today.
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