Marjane Satrapi’s memoir of growing up during the Islamic revolution is a gripping story
Here is an adaptation so inspired, so simple and so frictionless in its transformation of the source material that it’s almost a miracle. When I tell people it’s a lo-fi animation, largely in black-and-white, about Iran, they put their heads in their hands and make a low groaning sound. But I’ve seen those same people bounce happily out of the cinema after seeing it as if they had had some sort of caffeine injection. The Guardian.
Focus: Memoir, Iranian Revolution, gender and state control, exile, and identity.
Persepolis is a 2007 adult animated biographical drama film written and directed by Marjane Satrapi and Vincent Paronnaud, based on Satrapi’s autobiographical graphic novel of the same name.[4][5][6] The story follows a young girl as she comes of age against the backdrop of the Iranian Revolution. The title references the historical city of Persepolis.
Essential questions (choose 2–4 to drive the unit)
- How does a personal story change what we think we know about a country, a revolution, or a “news headline”?
- What can animation do—emotionally, ethically, rhetorically—that live action cannot?
- When does survival require compromise, and when does compromise become betrayal?
- How do states use “public morality” to discipline citizens, especially women?
- What does it mean to be “at home” when your homeland rejects part of who you are?
Give a short teacher talk or handout covering:
- The Shah’s regime and the 1979 Islamic Revolution.
- Establishment of the Islamic Republic: new laws, dress codes, morality police, and censorship. Teach Mideast
- War with Iraq and its impact on everyday life (bombings, rationing, martyrs). Spoiler Town.
Watch the movie here: https://mon-e-college.loiret.fr/POD/video/7700-persepolis/
Content considerations
Pre-teach that the film includes: political repression, war references, strong language, and some mature thematic material.
Set norms for discussion of religion, gender, and geopolitics: critique systems and policies, avoid stereotyping people. Invite students to “speak to the text” (what the film shows) rather than making broad claims.
Opt-out alternative: Offer an alternative memoir text (or selected clips + guided summary) for students who cannot view parts of the film.
A. “Four corners” discussion (structured controversy)
Post four claims; students choose one and prepare evidence:
- Persepolis is primarily a story about political oppression.
- It is primarily a story about gender and the policing of women.
- It is primarily a story about exile and belonging.
- It is primarily a story about memory and how we narrate our lives.
Seminar questions (Socratic or fishbowl)
Pick 6–8:
- Bradshaw describes the film as “funny and moving” while also showing brutal misogyny and intimidation. How does the film balance tonal shifts without feeling incoherent?
- What does the film suggest about revolutions as narratives—who gets to define what the revolution “means”?
- Where do you see the film critiquing both Iranian theocracy and Western condescension? How does it avoid “easy villains”?
- In memoir, what is the ethical role of self-incrimination (showing your own flaws)?
- How does animation shape your trust in the narrator—does stylization make it feel more honest or less?
C. Adaptation mini-task (if you have the graphic novel)
Compare one scene in the film to the graphic novel: what changed, and what is gained/lost? Use the language of adaptation as argument: the filmmakers aren’t “faithful,” they’re purposeful.
Essay questions
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Discuss how Persepolis uses black-and-white animation and autobiographical storytelling to explore the impact of revolution and war on Marji’s personal identity. In your answer, analyse at least two specific scenes and comment on both visual style and narrative voice.
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How does Persepolis use Marjane’s coming-of-age story to help viewers understand the human impact of political revolution and war?
In your response, analyze how personal experiences (family life, school, identity, fear, rebellion) are shaped by larger historical events.