#darioush

[adelphiaxo]

darius the great was a good book, would def recommend. apparently theres a second book :0

[haybug1]

Darioush Signature Napa Valley Viognier ~ Wine of the Day

Napa Valley’s Darioush Winery produces bold, expressive, elevated Cabernet Sauvignon wines with character. Still, the winemaking prowess does not stop there, as is evident in its luscious, well-rounded, and highly appealing Viognier. Darioush Signature Viognier uses fruit grown in the Oak Knoll AVA, a slightly cooler location towards the southern part of Napa, ensuring delicate fruit remains…

[nukednick]

unrelated shammies and a dk

[whileiamdying]

'Serpent's Skin': How Hajir Darioush's breakthrough movie birthed the Iranian New Wave

Joe Willams WED 6TH SEP 2023 21.15 BST

Before the mid-1960s, the cinema of��Iran was characterised mainly by a certain degree of moral and ideological simplicity. The popular genre of Filmfarsi, which dominated even until the late 1970s, usually presented melodramas or comedies with stereotypical characters and straightforward moral lessons. Such films, like Esmail Koushan’s Pretty Foe, rarely ventured into socio-political critique or complex storytelling – they used simple ‘comedy of errors’ plotlines and generally played for laughs or romance.

Similarly, movies produced during the Pahlavi era often echoed state-endorsed ideologies, emphasising the virtues of modernisation and Westernisation in line with the Shah’s own policies. While exceptions like Ebrahim Golestan’s The Brick and the Mirror offered more intellectual engagement, they were outliers in a landscape primarily focused on entertainment or state-sanctioned themes. This was just over a decade before Iran’s cultural revolution of 1980, which replaced secularism with a strict form of political and religious Islam. 

So, when Hajir Darioush’s Serpent’s Skin emerged in 1964, it marked a radical departure from the norm. Darioush’s audacious storytelling and nuanced direction introduced a new level of sophistication that was virtually unheard of in Iranian cinema at the time. The film encouraged audiences to engage in critical thought, question the status quo, and explore the grey areas of morality and identity.

Based on DH Lawrence’s Lady Chatterley’s Lover, Dariosh’s experimental short work follows a middle-aged modern Iranian woman confronted with her own age after striking up a tentative romance with a much younger man. The technical aspects of Serpent’s Skin also marked a massive divergence from established norms.

Darioush opted for a minimalist approach, with meticulous framing and subtle lighting that lent the movie a raw emotional gravity and frequently intercut between multiple narrators to paint a more vivid picture of contemporary Iran. These elements contrasted sharply with the high-octane visuals and melodramatic performances characteristic of Filmfarsi and other mainstream Iranian productions.

The influence of Serpent’s Skin on the Iranian New Wave was profound. The groundbreaking work of Darioush inspired upcoming directors like Abbas Kiarostami, Jafar Panahi, and Asghar Farhadi. They would go on to adopt and further refine the storytelling techniques and technical prowess that Serpent’s Skin had pioneered. Films like Kiarostami’s 1990 Close-Up or Panahi’s The Circle, which came a year later, would continue to challenge and provoke both Iranian and international audiences, just as Darioush had done.

Nearly six decades later, Serpent’s Skin remains a touchstone for scholars, critics, and auteurs who explore the complex landscape of Iranian culture and cinematic expression. Its impact on the Iranian New Wave has been enduring, paving the way for seminal entries to Iranian cinema like Ana Lily Amirpour’s A Girl Walks Home Alone at Night, marking it not just as a groundbreaking film but as a historical landmark that redefined what the country’s cinema could be.

[bullet-prooflove]

Birthday Celebration Bingo: Wildflower - Crockett Marcel x Reader

Tagging: @anime-weeb-4-life @99-reasons-to-live @legit9thlunaticwarrior @telepathay

The Fire Still Burns - Crockett still loves you despite the fact he walked away.

Fuck & Run - It takes Crockett a minute to realise something's going on.

Bad Influence - You tell Crockett he's a bad influence.

The night before your birthday Crockett leaves a little black box on the kitchen counter alongside an envelope with your name written on it.

You’ve made it clear you don’t want him to stay after he fucks you and he complies with your request.  The arrangement is slowly evolving along with your grief. You don’t just turn up at his place anymore, you summon him to yours too. It’s not just the occasional fuck it’s becoming more and more often. You’ve started to crave intimacy instead of pain.

When you find the gift, you realise it’s another example of just how much Crockett cares for you.

The card is a simple affair, he’s chosen one with your favourite colours and flowers. It’s that attention to detail that you remember from before the split. He paid attention to your likes, your dislikes, attuned himself to your needs, he was the perfect boyfriend until Jace got sick and then he left.

He regrets that, he had told you one night after he had ruined you, the fact his history with his daughter made him run when you needed him the most.  

“I don’t expect you to forgive me.” He had said, watching as you pulled your jeans up your thighs.

“I understand it now.” You’d told him as you collected your shirt from the floor and tugged it on over your head. “Noone wants to go back to that place. It would have killed you.”

“Yea.” He’d said quietly, the sheets pooling around your hips. “It would have.”

You both know you’re talking literally.

“Dari.” You say as you tilt your head towards him. It’s a play on his real name Darioush, it’s something private just between the two of you and he knows in that moment that you’re coming back to him, little by little, piece by piece. “I don’t blame you for leaving. If this is about guilt then you’re absolved.”

“It’s not about guilt.” He’d told you, his hand reaching across the bed and capturing yours. “It’s about love, darlin, it always has been.”

He’d pulled you back into bed then, made love to you for the first time in an age. Everything since Jace’s death has been about fucking through the numbness but this, this is something else. This is you and him locked in a moment of love, of passion and intimacy. You fall asleep in his arms that night, curled up against him and it reminds him of the old days, back when he was thinking about marrying you.

When you open that little black box on the counter, you feel something for the first time in six months that has nothing to do with sex and everything to do with the love Crockett has for you.

It’s a silver locket, there’s a wildflower engraved on the front because that’s what he used to call you in Farsi before the split. Your thumb traces over it before you open the locket and your heart, it just breaks.

There’s a picture of Jace inside, his gap toothed smile and wild blond hair. It’s from that weekend at the cabin before you found out Jace was sick. Crockett had taught your nephew how to fish, how to make a fire, you’d spent the evening roasting marshmallows and looking at the stars, making up new names for the constellations.

The tears come then. You haven’t cried since the night Jace slipped away, not at the funeral or the memorial his school had thrown for him a couple of weeks later. All of that anguish, all that grief, you’d swallowed it down, let the numbness overtake you. It’s only now that it’s starting to hit you, Jace is gone and you have to face the world without him.

When you turn up at Crockett’s apartment that night he knows that something’s changed. Normally by now you’d be half way to the bedroom, a trail of clothing left in your wake instead you sit down on his couch, your palms pressed between your knees.

“Can we talk?” You ask, your voice a little broken.

His gaze comes to rest on the locket around your neck and he knows that you’re ready to take the next step.

“Yea sugar.” He says quietly as he sits down alongside you. “We can talk about anything you want.”

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[ghelgheli]

To understand the full context of the American-led ‘53 coup against Mosaddegh in Iran it is imo critical to recognize anti-communism as a proximate cause. Write-up below:

It is commonly understood that the early decades of the 20th century in Iran are characterized by British colonial extortion of material resources (mostly oil) within the boundaries of “Persia” (pre-1935) / “Iran” (post). The penultimate monarchical dynasty, the Qajars, were ousted in 1925—but the exile of the last Qajar Ahmad Shah was the direct result of the 1921 military coup led by then-Reza Khan (later the first “Pahlavi”, Reza Shah) which was directed by Britain. And at this time, British anxieties heavily featured concerns about Bolshevik encroachment from the Caucuses (not just through the newly-formed Azerbaijan SSR, but also through domestic sympathizers that fueled such projects as large as the transient Persian SSR, put down by Reza Khan after Soviet withdrawal).

This is stage-setting. Of course, by the 50s, in tandem with Cold War thread-pulling, the Anglo-Iranian Oil Company constituted a thirsty tentacle of British imperialism sucking Abadan dry and contributing pittances to the local economy. It was in the midst of decades of growing resentment against this presence that Mosaddegh became Prime Minister in 1951 as the leader of the broad National Front coalition, and we are familiar with how intensely he campaigned for nationalizing the country’s oil and how pissy this made the British (here’s one and another post on the subject if not).

Here’s the detour: you may know that it was the CIA, an American institution, that orchestrated the ‘53 coup to oust Mosaddegh. But we were just now discussing threats against British colonial power in Iran. How did things get from B to A, as it were? We can’t take this for granted.

The British in fact spent the intervening two years trying to get Mosaddegh out by mobilizing the Shah and various right-wing (often clerical and mercantile) interests in Iran (this point, and much of what follows, draws from bits of Darioush Bayandor’s Iran and the CIA and Mostafa Elm’s Oil, Power, and Principle). They spent the same two years desperately trying to get the Americans on board with their efforts. But—here it is—the Truman regime and American foreign policy was in general intensely hostile to this strain of British interventionism in Iran, going so far as to issue warnings against it.

Why? Well, as you would expect, the Americans were concerned about Soviet influence in the region. Then-U.S ambassador in Tehran Henry Grady claimed that “Mosaddegh’s National Front party is the closest thing to a moderate and stable element in the national parliament” (Wall Street Journal, June 9 1951). This summarizes the American position at the time: Mosaddegh’s nationalist movement constituted the bastion against communism, and the US was very interested in the survival of this bastion lest Iran align with the USSR. 

What happened between 1951 and 1953 is that British pressure, operating through the Shah and more conservative elements of the Iranian government, jeopardized moderate support for Mosaddegh. With the right and center-right against him an entire wing of National Front coalition was falling off, and Mosaddegh found himself leaning more and more on the strengthening Tudeh Party, which had grown in numbers to militaristic significance during Mosaddegh’s tenure (including a network of at least 600 officers in the state military). Tudeh, of course, was the pro-Soviet communist party in Iran. And now the threads come together.

It was in this context of Mosaddegh, backed into a corner with almost only the communists behind him, that the CIA released a memo on November 20th, 1952 singing a very different tune:

It is of critical importance to the United States that Iran remain an independent and sovereign nation, not dominated by the USSR...

Present trends in Iran are unfavorable to the maintenance of control by a non-communist regime for an extended period of time. In wresting the political initiative from the Shah, the landlords, and other traditional holders of power, the National Front politicians now in power have at least temporarily eliminated every alternative to their own rule except the Communist Tudeh Party...

It is clear that the United Kingdom no longer possesses the capability unilaterally to assure stability in the area. If present trends continue unchecked, Iran could be effectively lost to the free world in advance of an actual Communist takeover of the Iranian Government. Failure to arrest present trends in Iran involves a serious risk to the national security of the United States.

And (!!!)

In light of the present situation the United States should adopt and pursue the following policies:...

Be prepared to take the necessary measures to help Iran to start up her oil industry and to secure markets for her oil so that Iran may benefit from substantial oil reserves...

Recognize the strength of Iranian nationalist feeling; try to direct it into constructive channels and be ready to exploit any opportunity to do so

It took two tries for the CIA to bring about a coup that removed Mosaddegh from power, but the objective of this coup was not the preservation of British control over Iranian resources; it was the maintenance of the Western sphere of influence against communist revolution (this was further prioritized by the arrival of the Eisenhower administration). In fact, after the coup the Anglo-Iranian Oil Company (now renamed British Petroleum) had to make room for six other companies from the US, France, and the Netherlands as part of a consortium, and this consortium would split profits with Iran 50/50. This is, to be clear, still colonialist extraction! But it constitutes a huge blow to British economic interests, because they were never the CIA’s goal. This is part of why the post-coup government is characterized far more as a US puppet than a British one.

It does remain that this was a sequence of events very much set in motion because of actions taken by the British government; by the time they managed to get shit to hit the fan, though, it was very much no longer in their control where the shit was flying.

[cepheusgalaxy]

I am here for the oc info dump! And I have pictures

Orange hair is Nalu and white hair is Darioush, both from my graphic series Steam Punk!

Darioush has messy untameable white hair that likes to stand and curl. He wears a pair of flight goggles (or pushes them on top of his head) that used to belong to his brother Sohrab, who does appear in flashbacks but has passed away before the present timeline of the story. He’s reckless like a very smart cat— he makes very calculated, well-thought out terrible decisions.

Dar is an inventor and a creative mechanic, often making himself ridiculous (cumbersome) prosthetics and unconventional vehicles that don’t always run the way he intended.

Nalu has thick but flat/straight orange hair that sometimes has strands of gold/yellow. Flecks of gold/yellow reflect in his sea green eyes as well. The yellow effect is from him being a Wind Mage (magic in this world works like a color wheel), which also makes him an oddity as he is the only weather magic user in his family. He’s a calm person that thinks things through without overthinking. He comes off as very well adjusted, but his cool logical approach to decision making often leads to him ignoring his own emotional needs and preferences.

He lives with his sister, niece, and brother-in-law but their parents are alive and well. His parents and his brother-in-law’s parents live together to help each other out as they get on in years, and their children/grandchildren visit frequently. Nalu has a big sweet tooth and has been in love with Darioush since they were children.

Their journey begins with a mission to find the best jelly donut in their city (neither have strayed far from their neighborhood before)

ID. A few drawings. The first one is of Nalu, a boy with golden hair, green eyes, freckles and a hat, smilling. The second is of Darioush, a boy with white hair, golden eyes and goggles, which are flying loose off his head, and he has a cut on his cheek. Another drawing shows Nalu yawning, and the last one shows both of them running together excited. End ID.

:D!! This is very cool! Their quirks and details are pretty interesting to me. Inventor characters are so so awesome and him in specific seems incredibly neat! I rlly like the magic detail too. And the lil bit about Nalu's family too.

[kikisloane]

Darioush Winery, Napa Valley

[warningsine]

what are some good iranian films? i've seen persepolis and a girl walks home alone at night

This is such a vast question, because Iranian cinema is heterogenuous and huge.

From Ali Hatami to Khosrow Sinai (In the Alleys of Love) to Hajir Darioush (Serpent's Skin) to Abbas Kiarostami (Where Is the Friend's Home?) and Jafar Panahi (The Circle) to Asghar Farhadi (A Separation, The Salesman).

But seems like you are interested in works by women directors?

The House is Black (Directed by Forugh Farrokhzad who was also a poet)

Divorce Iranian Style (1998, Kim Longinotto & Ziba Mir-Hosseini)

Two Women (1999, Tahmineh Milani)

Daughters of the Sun (2000, Mariam Shahriar)

The Day I Became a Woman (2000, Marzieh Meshkini)

The Hidden Half (2001 , Tahmineh Milani)

Women's Prison (2002, Directed by Manijeh Hekmat)

Joy of Madness (2003, Hana Makhmalbaf)

The Fifth Reaction (2003, Tahmineh Milani)

Women Without Shadows (2003, Mahnaz Mohammadi)

Gilaneh (2004, Rakhshān Banietemad)

One Night (2005, Niki Karimi)

Cease Fire (2006, Tahmineh Milani)

On a Friday Afternoon (2006, Mona Zandi Haghighi)

Buddha Collapsed out of Shame (2007, Hana Makhmalbaf)

Three Women (2008, Directed by Manijeh Hekmat)

Travelogue (2008, Mahnaz Mohammadi)

We Are Half the Iran's Population (2009, Mahnaz Mohammadi)

Green Days (2009, Hana Makhmalbaf)

Tehran Without Permission (2009, Sepideh Farsi)

The City trilogy (Rakhshān Banietemad)

From Tehran to London (2012, Mania Akbari)

Hush! Girls Don't Scream (2013, Pouran Derakhshandeh)

Tales (2014, Rakhshān Banietemad)

Disappearance (2017, Farnoosh Samadi)

Silence (2017, Maryam Pirband)

The Invincible Diplomacy of Mr. Naderi (2018, Maryam Moghaddam)

16 Women from Teheran (2018, Bahar Ebrahim)

The Old Road (2018, Manijeh Hekmat)

When the Moon Was Full (2019, Narges Abyar)

African Violet (2019, Mona Zandi Haghighi)

Son-Mother (2019, Mahnaz Mohammadi)

180° Rule (2020, Farnoosh Samadi)

I Am Trying to Remember (2021, Pegah Ahangarani)

The Football Aficionado (2022, Sharmin Mojtahedzadeh & Paliz Khoshdel)

1001 Nights Apart (2022, Sarvnaz Alambeigi)

Colonel Soraya (2023, Leili Aaj)

Where Is the Friend's Home? (Short 2023, Amina Maher)

[pedrogil73]

Darioush Napa Valley Red Wine 2019. Produced and Bottle by Darioush, Napa, California. 15.8% 🇺🇸

•

Cabernet S.  

Cabernet F.      

Merlot

Petit Verdot

Shiraz

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Rojo cereza oscuro, recuerdos de frutos rojos, cerezas, frambuesas. Notas de tabaco. Especiado. Frutos de bosque, blackberries. Retrogusto largo.

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Mi Puntuación   94/100

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#elcatador #brindoconelcatador #darioush #napawines #napavalley #wines #goodwines #wineup #winegeek #winetime #darioushwines #vino #vinos 

[scottxjones]

One of last year's dinners at Darioush Winery Discover the mouthwatering gastronomic delights of Darioush Winery's exquisite dinner events, like this one from last year.

[kotsuchiya]

One of last year's dinners at Darioush Winery

Step into an unforgettable dining experience amidst the stunning vineyards of Darioush Winery. Relive the magic of one of last year's extraordinary dinners.

[nukednick]

shadowlands piece so an oldie

[mediavisionhd]

Alesia & Darioush | Afghani wedding | Montreal Mediavision from MediaVision on Vimeo.

[radicaladventure]

Darioush by Dan Gildor

Via Flickr

To each his own.

If you want over the top decor and the bragadouche equivalent of the flag flying over Windsor or other castle when the queen is there, by all means stop by Darioush on the Silverado Trail.

The wines were fine and mostly run of the mill. We did though leave with a bottle of the Cabernet Franc. And a photo of their picnic table.

[shibasommelier]

2015 Darioush Signature Merlot

Feeling feisty today with this Napa Valley Merlot. The longer this guy is open, the more it opens up. The fruit gets deeper and more luxurious. Velvety nose of plums, dried raspberries, macerated blackberries, eucalyptus, and mint. Juicy plums, cherries, blackberries, and raspberries on the palate with some dried herb and cedar notes. Nice acidity.

3/5 bones

$$$$

Merlot (94%), Cabernet Sauvignon (3%), Malbec (3%)

14.8% abv

Napa Valley, California, USA