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BuzzFlash loved this animated, stark, gripping loosely biographical memoir of Marjane Satrapi, an Iranian-born graphic novelist now based in Paris (which is where the film ends).

Watch the trailer for "Persepolis" here.

Some may find the black and white minimalist animation dreary, but others -- such as us -- will find the approach gripping in the deft way that it uses figures, music, gestures, and shifting backgrounds to convey a complicated personality (Satrapi) and terrifying political history (Iran). In this case, simplicity is the key to understanding the main character's growth from childhood under the Shah to adulthood under the Mullahs. Anything more would have been overbearing.

"Persepolis" reveals much about Iran, but it is -- in its heart -- a personal story of an irrepressible young girl turned woman coping with a political world that constantly intrudes upon her life, even though she is not particularly a political person.

In many ways, this is one of the best films we have seen this year -- although we warn that others may find its "graphic novel" appearance too basic. It's a question of taste. But for us, "Persepolis" managed to be personal, political and allegoric all at the same time. It successfully encompassed "big themes" with a personal struggle without being dogmatic or didactic. In fact, it is filled with some wonderful characters, particularly Satrapi's wise and beloved grandmother.

We chose the French version with English subtitles over the dubbed English version because frankly the English version didn't work for us. This is a foreign film, and it was produced in France. Satrapi lives in Paris, and although 80% of it takes place in Iran, the thinking takes place in French.

In the extras section of the DVD, you get to meet and hear Satrapi talk about the making of "Persepolis," and that's a real treat because she is a total pistol. That may explain why a film so heavy with the tragedy of Iran's recent history can also have moments where the heroine keeps truckn' down a Tehran street to the tune of "Eye of the Tiger."

The film ends with an emphasis on the value of integrity. That is a word that has been so devalued over the years. But at the conclusion of "Persepolis," it seems like a tarnished coin that has just been cleaned and shined up like new.

And that's what you can say about "Persepolis"; it never loses its integrity as a personal and political tale. Like the best of stories, it establishes its credibility from the onset and doesn't betray the viewer with ideological digressions. It's stark, amusing, loving, ironic, modern, moving, informative, sad, and uplifting. That's a heavy load to carry, but it does it well, very well indeed.

From an online reviewer:

"Persepolis" is an animated film based on Marjane Satrapi's autobiographical graphic novel of the same name about her childhood in Tehran during the last Iranian revolution and coming of age after emigrating to Vienna. It is an extraordinarily ordinary story about an average woman coming to terms with herself and with the world around her. Did I say "average woman"? My bad. I meant dynamic, charming, intelligent, and fiercely individualistic. Ms. Satrapi's story is among the finest works ever animated and bestows upon the viewer the endless virtues of knowledge, a broadened mind, and a true perspective on humanity. "Persepolis" will break your heart, make you smile and laugh out loud, cheer, possibly sing, and restore your faith in humanity. The fact that this was passed over for an Oscar in favor of yet another mediocre Pixar effort (about a rat that controls a chef by pulling his hair, no less) is the ultimate proof positive that that award (or any other, really) has no merit whatsoever.

The animation is minimalist art of the highest stylistic brilliance. The endearing nature of Marjie and her family is only highlighted by the ultra-simplistic black and white pencil-and-paper artwork. All of the CG in the world could not improve on this film in any way; the focus is on story, characters, and stylistic integrity, as it should be. The film's philosophies run deep and broad, ranging from harsh commentaries on authority to harsh commentary on purposeless counterculture. Wisdom comes from Marjie's grandmother, from her imaginary chats with God, and her memories of her communist uncle. These are life lessons about integrity, prudence, and acceptance that one should always carry with them and produce many, many quotable quotes.

Do not think for a second that this film is all about heaviness of spirit and preachiness. No, no, no, no; nothing could be further from the truth. Ms. Satrapi is a brilliant social satyrist who fills "Persepolis" with pointed jokes, lighthearted moments, and heartwarming charm while pointing out that at heart, we are all the same. There is a time in Marjie's life where she becomes a lifeless, jaded cynic unable to do anything but watch TV and let life pass her by. Then one day, she wakes up angry again. The result is a musical montage that will likely make you laugh hysterically or jump out of your seat to sing along. Possiby both. This is just that kind of film. Throw in some animated love for Godzilla, Bruce Lee, and Terminator 2 and I am beyond sold.

From another online reviewer:

The highlight of Persepolis is the animation. Though the physical depiction of the characters are somewhat one-dimensional, the animator Vincent Paronnaud uses light and color and unique shapes to enhance their emotions and the events of their lives. There is one scene in which two older burkha wearing religious ladies acccost her on the streets for listening to punk music. The shape of the ladies in their burkhas are almost amorphous, snake-like and the power of intimidation leaps out so much more than what it would have been if real actors played the characters. Time and time again the animator uses the contrast of light and darkness to highlight a scene. Many times there are the scene fade-outs where a white figure is left to the end burning itself in one's retina providing a subtle yet effective dramatic effect.




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