He filmed in three villages in northern Iran where his own parents and grandparents once lived, and where nobody would inform the regime in Tehran about his defiance of his occupational ban. That's why Panahi made the maximum use of his female protagonists, largely remaining in the background himself. Despite it being a highly sensitive and flexible model, the setup restricts the complexity of the shots. Under such circumstances, the director once again saw himself forced to film with minimal means - only one assistant and a single camera. Under the present regime, they are outlawed, marginalized and discriminated as "fallen women." But in Three Faces, three generations of women take a stand against their treatment, just like Panahi himself: Even though he was forbidden to direct films eight years ago, he has since managed to produce four works.
Panahi has devoted his latest work to Iranian actresses, and those who dream of becoming one. Nowadays, the formerly celebrated diva lives in a remote area of the country, lonely and ostracized. In the late 1970s, she was forbidden to play in films. Before the Iranian Revolution, she was a famous actress who is still known in present-day Iran. It's Shahrzad who however only shows up as a silhouette. That's where viewers encounter the third "face" that plays an important role in this film.
The language itself is desired and often required for graduate. Behnaz Jafari and Jafar Panahi want to find out what happend to Marziyeh. GERMAN STUDIES majors master a language known for its intellectual and creative culture.