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\n\t\tMaryam, elle, est une Kaboulienne moderne, pr\u00e9sentatrice TV au caract\u00e8re dur, qui doit sans cesse rejeter les hommes pour garder son ind\u00e9pendance : son sup\u00e9rieur qui voudrait la faire poser pour des publicit\u00e9s, son futur ex-mari dont les avances virent au harc\u00e8lement. On comprend qu’il l’a tromp\u00e9e, qu’elle l’a quitt\u00e9, qu’il voudrait revenir. Mais Maryam ne s’en laisse pas conter : elle jette ses fleurs sit\u00f4t livr\u00e9es, ignore ses appels, refuse ses excuses. Sur son frigo, des magnets f\u00e9ministes : Rosie the Riveter, \u00ab\u00a0I love women\u00a0\u00bb\u2026 <\/em>Malheureusement pour Maryam, elle aussi tombe enceinte. Elle annonce la nouvelle au t\u00e9l\u00e9phone \u00e0 une amie moins \u00e9mancip\u00e9e, qui s’empresse de lui faire la morale : elle doit garder le b\u00e9b\u00e9, se remettre avec Farid, construire une famille. Bref, rentrer dans les clous. \u00ab\u00a0Subir, subir…\u00a0\u00bb, <\/em>r\u00e9sume Maryam. Elle a fini de subir. Elle conna\u00eet la vie des femmes comme Hava, et ne s’y r\u00e9soudra pas.\t<\/div>\n<\/div>\n\n
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\n\t\tAyesha est tout juste sortie de l’adolescence, mais enceinte elle aussi. Probl\u00e8me : son petit ami l’a abandonn\u00e9e en apprenant la nouvelle, et sa m\u00e8re la pousse \u00e0 accepter un mariage arrang\u00e9, comme elle \u00e0 son \u00e2ge. \u00ab\u00a0Une maison sans homme, <\/em>lance-t-elle, c’est comme un pot sans couvercle.\u00a0\u00bb <\/em>C’est d\u00e9cid\u00e9 : Ayesha \u00e9pousera son cousin. Avant cela, elle doit se d\u00e9barrasser de ce b\u00e9b\u00e9 ill\u00e9gitime, dont personne ne veut, et faire reconstruire son hymen pour la nuit de noces. C’est dans le cabinet de la gyn\u00e9cologue que le destin de ces trois femmes va se croiser.\t<\/div>\n<\/div>\n\n
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\u00ab\u00a0Pourquoi ferais-je des enfants, quand je peux faire des films ?\u00a0\u00bb<\/h2>\n<\/div>\n
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\n\t\tLes histoires de Hava, Maryam et Ayesha, ce sont celles de milliers de femmes dont personne, avant Sahraa Karimi, n’avait vraiment cure. \u00ab\u00a0Je voulais montrer qu’il y avait d’autres probl\u00e8mes dans la vie des femmes afghanes que les bombes et les burqas\u00a0\u00bb, <\/em>explique-t-elle. Un sujet qu’elle conna\u00eet bien pour avoir r\u00e9alis\u00e9 plusieurs documentaires dans les villages afghans au d\u00e9but de sa carri\u00e8re. \u00ab\u00a0Ces femmes que j’ai rencontr\u00e9es n’avaient personne \u00e0 qui parler de leurs souffrances, de leurs combats ou de leurs r\u00eaves. Elles \u00e9taient condamn\u00e9es au silence. J’ai compris qu’en tant que r\u00e9alisatrice, je pouvais leur donner une voix.\u00a0\u00bb <\/em>En s’aventurant aujourd’hui pour la premi\u00e8re fois dans la fiction, Karimi voulait parler \u00ab\u00a0des probl\u00e8mes universels qu’on rencontre dans une soci\u00e9t\u00e9 patriarcale\u00a0\u00bb.<\/em>\t<\/div>\n<\/div>\n\n
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\n\t\tEn particulier, les probl\u00e8mes li\u00e9s \u00e0 la maternit\u00e9. \u00ab\u00a0En Afghanistan, quand vous vous mariez, vous devez enfanter, c’est automatique. Si vous voulez \u00eatre respect\u00e9e, avoir une place dans la famille et dans la soci\u00e9t\u00e9, vous devez \u00eatre m\u00e8re. Mais si vous ne voulez pas avoir d’enfant, \u00e7a se passe comment ?\u00a0\u00bb <\/em>C’est le choix de Maryam, comme celui de la r\u00e9alisatrice. \u00ab\u00a0C’\u00e9tait une d\u00e9cision difficile \u00e0 prendre, <\/em>t\u00e9moigne-t-elle, parce que dans mon pays, les gens ne comprennent pas. Mais pourquoi ferais-je des enfants, quand je peux faire des films ? Moi, je suis quelqu’un qui raconte des histoires.\u00a0\u00bb<\/em>\t<\/div>\n<\/div>\n\n
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\n\t\tPar Marine Jeannin, de retour du Festival international des Cin\u00e9mas d’Asie \u00e0 Vesoul<\/strong>\t<\/div>\n<\/div>\n\n
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Le Palmar\u00e8s du Festival international des Cin\u00e9mas d'Asie de Vesoul 2020<\/h2>\n\t\t\t
Cyclo d’honneur : Jay Jeon<\/strong> (Cor\u00e9e du Sud), directeur du festival International du Film de Busan en Cor\u00e9e, pour honorer l’ensemble de sa carri\u00e8re.<\/p>\n
Cyclo d’or : Mariam <\/em>de Sharipa Urazbayeva<\/strong> (Kazakhstan) \u00ab\u00a0pour le portrait poignant d\u2019une femme en lutte pour la survie de sa famille dans une soci\u00e9t\u00e9 traditionnelle\u00a0\u00bb.<\/em><\/p>\n
Grand prix du jury international : Just Like That <\/em>de Kislay Kislay<\/strong> (Inde) \u00ab\u00a0pour le sensible portrait d’une femme \u00e2g\u00e9e prenant son ind\u00e9pendance et sa libert\u00e9 une fois devenue veuve\u00a0\u00bb.<\/em><\/p>\n
Prix du jury international : ex aequo John Denver Trending <\/em>d’Arden Rod B. Condez<\/strong> (Philippines) \u00ab\u00a0pour la mani\u00e8re tr\u00e8s intelligente d\u2019aborder le th\u00e8me actuel du harc\u00e8lement sur les r\u00e9seaux sociaux sur la jeunesse\u00a0\u00bb<\/em> et A Bedsore <\/em>de Shim Hye-jung<\/strong> (Cor\u00e9e du Sud) \u00ab\u00a0pour la subtile description de la fin de vie d\u2019une personne et ses cons\u00e9quences sur sa famille et son entourage\u00a0\u00bb.<\/em><\/p>\n
Prix du jury Netpac (network for the promotion of Asian Cinema) : Saturday afternoon <\/em>de Mostaga Sarwar Farooki<\/strong> (Bangladesh) \u00ab\u00a0pour la d\u00e9nonciation du recours \u00e0 la violence au nom de la religion et \u00e0 des fins politiques\u00a0\u00bb.<\/em><\/p>\n
Prix de la critique : John Denver Trending <\/em>d’Arden Rod B. Condez<\/strong> (Philippines)<\/p>\n
Prix Inalco : A Bedsore <\/em>de Shim Hye-jung<\/strong> (Cor\u00e9e du Sud)<\/p>\n
Coup de c\u0153ur Inalco : Just like that <\/em>de Kislay Kislay<\/strong> (Inde)<\/p>\n
Prix du public du film de fiction : John Denver Trending <\/em>d’Arden Rod B. Condez<\/strong> (Philippines)<\/p>\n
Prix du Jury lyc\u00e9en : Saturday Afternoon <\/em>de Mostofa Sarwar Farooki<\/strong> (Bangladesh)<\/p>\n
Prix du public du film documentaire : We Must clown <\/em>de Dima Al-Joundi<\/strong> (Liban)<\/p>\n
Prix du jury jeune : A punk daydream <\/em>de Jimmy Hendrickx & Kristian Van der Heyden<\/strong> (Belgique)<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n
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Soutenez-nous !<\/h3>\n\t\t
Asialyst est con\u00e7u par une \u00e9quipe compos\u00e9e \u00e0 100 % de b\u00e9n\u00e9voles et gr\u00e2ce \u00e0 un r\u00e9seau de contributeurs en Asie ou ailleurs, journalistes, experts, universitaires, consultants ou anciens diplomates... Notre seul but : partager la connaissance de l'Asie au plus large public.<\/p>\n\t\tFaire un don<\/a>\n\t<\/div>\n<\/div>\n
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Tags de l'article<\/h5>\n\t\t
Afghanistan<\/a><\/li>
Asie Centrale<\/a><\/li>
Cin\u00e9ma<\/a><\/li>
femmes<\/a><\/li>
Festival<\/a><\/li>
film<\/a><\/li>
Vesoul<\/a><\/li><\/ul>
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A propos de l'auteur<\/h5>\n\t\t\t\t\t
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\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t \n\t\t\t\t\t\t\tMarine Jeannin\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
\n\t\t\t\t\t\tJournaliste bas\u00e9e \u00e0 Accra (Ghana), Marine Jeannin est la correspondante de RFI, Le Monde, TV5 Monde, G\u00e9o et autres m\u00e9dias audiovisuelles et num\u00e9riques francophones.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>\n<\/div>\n
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On vous recommande<\/h5>\t\t\t
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$\"Sc\u00e8ne$ <\/span>Culture<\/span>
Cin\u00e9ma \u00e0 Vesoul : \"A Dark, Dark Man\", thriller dans les steppes kazakhes<\/h4><\/span><\/a><\/li>
$\"Sc\u00e8ne$ <\/span>Culture<\/span>
Le Tibet \u00e0 l'honneur du festival des cin\u00e9mas d'Asie de Vesoul<\/h4><\/span><\/a><\/li>\t\t\t<\/ul>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n
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\n\t\t\t<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
\u00ab\u00a0Hava, Maryam, Ayesha\u00a0\u00bb est le premier film de fiction de la r\u00e9alisatrice afghane Sahraa Karimi, d\u00e9j\u00e0 connue en Occident pour ses documentaires. Il a \u00e9t\u00e9 pr\u00e9sent\u00e9 en avant-premi\u00e8re au 26\u00e8me Festival International des Cin\u00e9mas d’Asie de Vesoul.<\/p>\n","protected":false},"author":1610,"featured_media":46624,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[183,72,255,6,821,471,1851],"class_list":["post-46619","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-afghanistan","tag-asie-centrale","tag-cinema","tag-femmes","tag-festival","tag-film","tag-vesoul"],"yoast_head":"\nCin\u00e9ma \u00e0 Vesoul : "Hava, Maryam, Ayesha", triptyque f\u00e9ministe en Afghanistan - Asialyst<\/title>\n<meta name=\"description\" content=\""Hava, Maryam, Ayesha" est le premier film de fiction de la r\u00e9alisatrice afghane Sahraa Karimi, d\u00e9j\u00e0 connue en Occident pour ses documentaires. Il a \u00e9t\u00e9 pr\u00e9sent\u00e9 en avant-premi\u00e8re au 26\u00e8me Festival International des Cin\u00e9mas d'Asie de Vesoul.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/asialyst.com\/fr\/2020\/02\/17\/cinema-vesoul-hava-maryam-ayesha-triptyque-feministe-afghanistan\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9ma \u00e0 Vesoul : "Hava, Maryam, Ayesha", triptyque f\u00e9ministe en Afghanistan\" \/>\n<meta property=\"og:description\" content=\""Hava, Maryam, Ayesha" est le premier film de fiction de la r\u00e9alisatrice afghane Sahraa Karimi, d\u00e9j\u00e0 connue en Occident pour ses documentaires. 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A propos de l'auteur<\/h5>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t