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Erschienen in \u00abAMNESTY \u2013 Magazin der Menschenrechte\u00bb vom August 2016.", "slblocks": { "94df6daad6224756b52b659cfb0d632d": { "@components": { "actions": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@actions" }, "aliases": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@aliases" }, "breadcrumbs": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@breadcrumbs" }, "contextnavigation": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@contextnavigation" }, "footer": { "@id": "https://amnesty-api.webcloud7.ch/de/@footer", "data": { "msg": "Not extandable for caching reasons, please call @id in a separate request." } }, "linklist": { "@id": "https://amnesty-api.webcloud7.ch/de/@linklist", "data": { "msg": "Not extandable for caching reasons, please call @id in a separate request." } }, "navigation": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@navigation" }, "navroot": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@navroot" }, "types": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@types" }, "workflow": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details/@workflow" } }, "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies/details", "@type": "TitleTextBlock", "UID": "94df6daad6224756b52b659cfb0d632d", "allow_discussion": false, "created": "2025-10-10T19:02:31+00:00", "cta_href": "", "cta_label": null, "cta_new_window": false, "cta_type": "", "id": "details", "is_folderish": true, "items": [], "items_total": 0, "layout": "view", "lock": {}, "modified": "2025-10-10T19:02:31+00:00", "next_item": {}, "parent": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2016-3/kein-paradies", "@type": "ArticlePage", "description": "Mit seinem Film \u00abParadise\u00bb inszeniert Sina Ataeian Dena die Spannung zwischen den gesellschaftlichen Normen und dem Wunsch nach weiblicher Selbstbestimmung. Schon der Filmtitel spielt mit diesem Gegensatz: Was der Regisseur uns zeigt, ist kein Paradies.", "effective": "2016-08-16T15:56:00+00:00", "end": null, "getObjSize": null, "head_title": null, "image_field": null, "image_scales": {}, "mime_type": null, "nav_title": null, "review_state": "website_workflow--STATUS--veroffentlicht", "start": null, "title": "Kein Paradies", "type_title": "ArticlePage" }, "previous_item": {}, "review_state": null, "text": { "content-type": "text/html", "data": "

Die 25-j\u00e4hrige Primarlehrerin Hanieh ist ledig und lebt bei ihrer schwangeren Schwester in Teheran. Ihr Weg zur\u00a0 Arbeit in einer M\u00e4dchenschule ist mit\u00a0 langem, erm\u00fcdendem Pendeln verbunden. Zuhause rauben die famili\u00e4ren Pflichten Haniehs letzte freie Zeit, die\u00a0 verniedlichenden Worte ihres Freundes\u00a0 fressen den Rest ihrer Energie. Ihr Zivilstand verlangt nach kontinuierlicher\u00a0 Rechtfertigung. Das Gesuch um eine\u00a0 Versetzung in eine innerst\u00e4dtische Schule\u00a0 bleibt fast in den endlosen M\u00fchlen der\u00a0 B\u00fcrokratie h\u00e4ngen. Ein Dialog zwischen Hanieh und einer\u00a0 Mitarbeiterin der Schulbeh\u00f6rde, den\u00a0 man zu Beginn des Filmes aus dem Off\u00a0 h\u00f6rt, zeigt Haniehs mangelnde Kenntnisse\u00a0 der Kleidervorschriften und Sittenregeln. Genau diese sollte sie aber als\u00a0 Lehrerin durchsetzen.

Hanieh versucht ihrer Realit\u00e4t zu entfliehen\u00a0 und einen eigenen Weg zu finden.\u00a0 Mit eindr\u00fccklichen, kurzen Dialogen und\u00a0 aussagekr\u00e4ftigen Bildern veranschaulicht\u00a0 der iranische Regisseur Sina Ataeian\u00a0 Dena die unsichtbaren Grenzen und die\u00a0 Unm\u00f6glichkeit dieses Vorhabens: Hanieh rasiert sich den Kopf, aber der Millimeterschnitt\u00a0 wird vom Kopftuch verdeckt.

Auch Haniehs Sch\u00fclerinnen k\u00e4mpfen mit dem Rollenbild, dass ihnen \u00fcbergest\u00fclpt\u00a0 wird. W\u00e4hrend der Pausen unterbrechen st\u00e4ndig schrille Ermahnungen der Aufseherin das Spiel. In Reih und Glied aufgereiht m\u00fcssen sie politisch-religi\u00f6se Lieder singen und Gymnastik\u00fcbungen\u00a0 machen. Als jedoch ein Fussball auf dem Pausenplatz landet, spielen die M\u00e4dchen\u00a0 ausgelassen und ignorieren die Aufforderungen\u00a0 zum Aufh\u00f6ren. Als zwei Sch\u00fclerinnen spurlos verschwinden, verwickeln sich die Schicksale von Hanieh und ihren Sch\u00fclerinnen. Erf\u00e4hrt man zun\u00e4chst\u00a0 anhand Haniehs Alltag die unsichtbare, strukturelle Gewalt der Gesellschaft\u00a0 gegen\u00fcber Frauen, kommt es nun\u00a0 zu einer realen und lebensgef\u00e4hrdenden Bedrohung.

\u00abParadise\u00bb ruft ein beklemmendes Gef\u00fchl hervor, weil er aufzeigt, dass es in der iranischen Gesellschaft keinen Raum\u00a0 gibt, wo M\u00e4dchen und Frauen sich selbst\u00a0 sein k\u00f6nnen. Gesetze und Moralvorstellungen\u00a0 regulieren alle Lebensbereiche.

Wie durchdringend die staatliche Kontrolle\u00a0 und Unterdr\u00fcckung sind, zeigt sich\u00a0 letztlich auch darin, dass der Regisseur\u00a0 den Film illegal drehen musste und seine\u00a0 Ver\u00f6ffentlichung von offizieller Seite fast verhindert wurde. Ein sehenswerter Film,\u00a0 der zum Nachdenken anregt\u00a0

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