Born on November 22, 1969, in Rasht, Iran, Marjane Satrapi became one of the most distinctive visual storytellers of her generation. She was a graphic novelist, illustrator, filmmaker, screenwriter, painter, and public intellectual whose work moved easily between autobiography and fiction, private memory and public history, humor and grief.
For millions of readers, Satrapi will always be associated first with Persepolis, the black-and-white graphic memoir in which she transformed her childhood in Tehran, the Iranian Revolution, the Iran-Iraq War, adolescence in Vienna, and her eventual departure from Iran into one of the defining works of modern graphic literature. Yet Persepolis was only the beginning. Satrapi also created Embroideries and Chicken with Plums, wrote books for children, directed animated and live-action films, painted, designed major public artworks, and returned in her later years to the political and cultural questions that had shaped her earliest work.
Satrapi died on June 4, 2026, at only fifty-six. Her death brought tributes from the Festival de Cannes, France’s Académie des beaux-arts, the Élysée Palace, publishers, filmmakers, artists, and readers around the world. By then, however, her importance had long since become clear. She had helped prove that the graphic memoir could carry history, autobiography, cultural criticism, comedy, and political complexity without sacrificing intimacy.
On November 22, her birthday now offers an opportunity to remember not only the creator of Persepolis, but an artist who spent her life resisting simplified versions of people, nations, cultures, and herself.
🌍 Growing Up in Tehran
Satrapi was born in Rasht but grew up in Tehran, where she attended a French-language school and was raised in a politically engaged, educated family. Her childhood coincided with enormous change in Iran. She was still a child when the 1979 Iranian Revolution ended the monarchy of Mohammad Reza Shah Pahlavi and established the Islamic Republic, and she was growing up as the Iran-Iraq War brought bombing, deaths, shortages, and instability into everyday life. [1]
These events later became the historical framework of Persepolis, but Satrapi’s great achievement was to resist telling history from the top down. Presidents, clerics, generals, and ideological movements exist in the background, but the story is experienced by a child who also cares about music, clothes, family arguments, school, heroes, friendships, cigarettes, embarrassment, and rebellion.
That perspective matters. Political upheaval does not replace ordinary life. It intrudes upon it.
A family still eats dinner.
A teenager still worries about fitting in.
Parents still disagree with their children.
People still tell jokes.
Satrapi understood that history becomes most vivid when readers can see how it enters a kitchen, a classroom, a street, or a child’s imagination.
👧 A Child Trying to Understand Politics
The young Marjane depicted in Persepolis is not a miniature political theorist who understands everything happening around her.
She misunderstands.
Changes her mind.
Hero-worships.
Boasts.
Repeats things she has heard from adults.
Feels outraged.
Wants to become a prophet.
Then wants to become a revolutionary.
This imperfection gives the memoir much of its credibility.
Satrapi did not rewrite childhood in order to make her younger self look consistently wise. Instead, she preserved something more interesting: the way children absorb adult events through fragments of conversation, images, slogans, family stories, school lessons, and emotions they do not yet have the experience to interpret fully.
The result allows readers to watch political consciousness form rather than simply receiving a finished political argument.
👨👩👧 Family as the Center of the Story
Satrapi’s family gives Persepolis its emotional foundation.
Her parents are modern, educated, politically aware, and protective without being able to shield their daughter completely from the circumstances surrounding them. Her grandmother becomes particularly important as a source of affection, humor, honesty, and moral independence.
Family history also complicates the idea that Iranian society can be reduced to one political or cultural identity.
Inside Satrapi’s world are secular people, religious people, leftists, monarchists, political prisoners, members of different generations, frightened citizens, rebellious teenagers, and relatives carrying memories from earlier periods of Iranian history.
That complexity became central to Satrapi’s work.
She consistently resisted the idea that any country can be explained by one government, one ideology, or one stereotype.
🧥 Clothing, Music & Everyday Rebellion
Some of the most memorable moments in Persepolis involve apparently small acts.
Clothing becomes political.
So does music.
A jacket.
A poster.
A pair of shoes.
A hairstyle.
A cassette tape.
Satrapi shows how authoritarian rules can reach into the most ordinary personal decisions, turning fashion and popular culture into questions of conformity and resistance.
At the same time, she never treats every adolescent act as grand political heroism. Sometimes a teenager wants Western music because she likes the music.
That distinction keeps Persepolis human.
Political pressure may transform an ordinary preference into something dangerous, but the person experiencing it does not stop being an ordinary person.
💣 The Iran-Iraq War
The Iran-Iraq War, which lasted from 1980 to 1988, forms another central part of Satrapi’s childhood narrative.
Air raids, deaths, destruction, propaganda, and fear enter the memoir through domestic experience. [1]
Again, the scale constantly shifts.
One page may refer to an enormous military conflict.
The next may focus on a family member, neighbor, classmate, or damaged building.
That movement between historical scale and personal scale became one of Satrapi’s greatest storytelling strengths.
Wars are discussed in terms of nations.
People experience them one person at a time.
✈️ Leaving Iran at Fourteen
As Satrapi grew older and increasingly outspoken, her parents became concerned about her safety.
When she was fourteen, they sent her alone to Vienna. [1]
The move protected her from some of the dangers of the Iran-Iraq War and the political environment in Iran, but exile did not become a simple story of liberation.
Vienna brought freedom.
It also brought loneliness.
Satrapi had to navigate a new language, new social codes, adolescence, unstable living arrangements, changing friendships, cultural misunderstanding, romantic relationships, and the realization that being outside Iran did not automatically mean feeling at home somewhere else.
This became one of the most powerful parts of Persepolis because Satrapi refuses the easy narrative in which departure from an authoritarian society leads immediately to happiness in Europe.
Freedom and belonging are not the same thing.
🧳 Exile Without Romanticism
Satrapi’s depiction of exile remains especially compelling because she understood it as a condition of divided identity rather than a simple geographical move.
In Europe, she could behave in ways that would have been difficult or dangerous in Iran.
Yet she also encountered prejudice and cultural isolation.
She sometimes concealed her Iranian identity.
At other moments, she fiercely defended it.
This emotional contradiction is one of the memoir’s recurring truths.
A person can criticize a homeland and still love it.
A person can appreciate a new country without feeling entirely at home there.
Exile can provide freedom and produce grief simultaneously.
Satrapi never allowed one emotion to cancel the other.
🏠 Returning to Iran
Satrapi eventually returned to Tehran in 1988.
Going home did not restore the person who had left.
She had changed.
Iran had changed.
The familiar country could therefore feel strangely unfamiliar.
This return became another important stage in her development because it forced her to confront the psychological consequences of living between cultures. She studied art, entered relationships, married and later divorced, and continued confronting the restrictions placed upon women within Iranian society.
Eventually, she decided to leave again.
This time, the departure became permanent.
🇫🇷 Moving to France
Satrapi moved to France in 1994, studied in Strasbourg, and eventually settled in Paris.
There she entered the Atelier des Vosges, a creative environment associated with an important generation of contemporary French comics artists, including Joann Sfar, Christophe Blain, Lewis Trondheim, and others. [2]
The community gave Satrapi a professional artistic world in which comics were treated seriously as a literary and visual form.
This was crucial.
She had memories.
She had stories.
She had artistic training.
What she needed was a form capable of holding all of them at once.
Comics provided it.
📚 The Birth of Persepolis
Satrapi began publishing Persepolis with the French independent publisher L’Association in 2000.
The original French work appeared in four volumes between 2000 and 2003. [2]
Its success was remarkable.
An intensely personal story about Iranian history, childhood, revolution, war, exile, and return found readers far beyond France and Iran. Translations followed, and the memoir eventually reached a vast international audience.
For many English-language readers, Persepolis appeared in two larger volumes before later being collected as The Complete Persepolis.
The book helped establish Satrapi as one of the most important figures in the growing international recognition of graphic memoir.
🖤 Why Black and White Worked
The visual simplicity of Persepolis is one of its most recognizable qualities.
Satrapi worked in stark black and white, using bold silhouettes, simplified faces, strong contrasts, repeated patterns, and highly controlled compositions.
The approach can initially look simple.
It is not.
By stripping away unnecessary visual detail, Satrapi made gestures, expressions, crowds, clothing, architecture, and symbolic images immediately legible.
A page can become funny in one panel and terrifying in the next.
A child’s face can occupy the same visual world as a political demonstration, a bombing, a classroom, or an execution.
The simplicity creates speed.
It also prevents decorative detail from overwhelming the emotional meaning of a scene.
🎨 Art Spiegelman and the Graphic Memoir Tradition
Satrapi developed Persepolis within a graphic-literary tradition that had already demonstrated how comics could address history and trauma.
Art Spiegelman’s Maus, in particular, had shown how sequential art could approach Holocaust memory through a highly personal visual language.
Satrapi’s work was entirely her own, but Persepolis helped extend the possibilities of graphic autobiography for another generation of readers.
A memoir no longer had to be prose accompanied by illustrations.
The images could carry memory themselves.
Silence could occupy a panel.
A facial expression could replace a paragraph.
A sequence of black shapes could communicate fear more quickly than explanation.
The form was not secondary to the story.
It was the story.
😄 Humor as Survival
One of the most important qualities in Satrapi’s work is humor.
Persepolis contains executions, war, political imprisonment, exile, repression, grief, and violence, yet it is often very funny.
The humor prevents the people in the memoir from becoming historical symbols instead of human beings. Families tease one another. Teenagers behave ridiculously. Adults contradict themselves. Satrapi mocks her younger self as readily as anyone else.
Humor also creates emotional movement.
Readers are not held at a single level of solemnity for hundreds of pages because life itself does not operate that way.
Even during frightening periods, people laugh.
Satrapi understood laughter not as denial but as evidence that a person has not been reduced entirely to fear.
👩 Women Talking in Embroideries
After Persepolis, Satrapi turned toward a smaller and more intimate setting in Embroideries.
The book centers on women gathered together after a meal while the men are elsewhere.
Conversation becomes the entire architecture of the work.
The women discuss marriage, bodies, sex, virginity, divorce, reputation, husbands, lovers, cosmetic procedures, and the difference between public respectability and private reality.
The book is funny because the speakers are funny.
It is revealing because Satrapi allows women to speak without translating their experiences for an outside audience.
Their lives resist stereotypes in every direction.
They are not one unified category called “Iranian women.”
They disagree.
Judge one another.
Shock one another.
Laugh.
Boast.
Regret.
The conversation itself becomes a form of social history.
🎻 Chicken with Plums
Chicken with Plums takes another turn.
The graphic novel centers on Nasser Ali Khan, a musician whose beloved instrument is destroyed. Unable to replace what he has lost emotionally as well as musically, he decides to die.
The story then moves backward and sideways through memory.
Family relationships.
Lost love.
Art.
Marriage.
Regret.
Imagined futures.
Death.
The structure allows Satrapi to explore how an entire life can become visible when viewed from its ending.
Where Persepolis expands outward from an individual life into national history, Chicken with Plums turns inward toward one person’s accumulated disappointments.
Both books are concerned with memory.
They simply enter it from different doors.
🎬 Turning Persepolis Into a Film
Satrapi eventually collaborated with Vincent Paronnaud to adapt Persepolis into an animated feature.
The film premiered at Cannes in 2007 and shared the Jury Prize. It later received an Academy Award nomination for Best Animated Feature. [3]
The adaptation retained much of the graphic novel’s monochrome visual identity while taking advantage of movement, voices, music, editing, and cinematic timing.
Animation was particularly well suited to Satrapi’s memory-based storytelling.
Dreams could merge with reality.
Political events could become stylized sequences.
A child’s imagination could transform visually without requiring an abrupt shift into realism.
The film did not simply reproduce the comic.
It translated Satrapi’s visual language into another medium.
🏆 Cannes and International Recognition
The success of the film transformed Satrapi again.
She was no longer known primarily as a graphic novelist.
She was now also an internationally recognized filmmaker.
Cannes later remembered Persepolis as an important moment for animation within the festival’s main competition, and Satrapi herself served on Cannes juries in subsequent years. [3]
This ability to move across forms became increasingly characteristic of her career.
She did not treat comics as a permanent identity she was obligated to preserve.
Once she wanted another challenge, she moved.
🎥 Chicken with Plums on Screen
Satrapi and Paronnaud later adapted Chicken with Plums into a live-action film.
The transition from animation into live action demonstrated Satrapi’s willingness to abandon the visual system that had first made her famous.
This mattered.
Artists who become strongly associated with one recognizable style can easily become trapped inside it.
Satrapi refused.
The emotional and imaginative world remained hers.
The form could change completely.
🔪 The Voices
In 2014, Satrapi directed The Voices, starring Ryan Reynolds.
The film is a dark mixture of horror, comedy, fantasy, violence, and psychological instability.
On the surface, it seems far removed from Persepolis.
Yet Satrapi remained attracted to the unstable boundary between the world people inhabit internally and the world other people believe they are inhabiting.
She also remained interested in tonal contradiction.
Something can be funny and horrifying at the same time.
Persepolis had already demonstrated that instinct.
The Voices took it into a radically different genre.
☢️ Radioactive
Satrapi later directed Radioactive, the 2019 biographical film starring Rosamund Pike as Marie Curie. [7]
The project explored the life of one of the most famous scientists in modern history while also looking forward to the consequences of discoveries connected with radioactivity.
Curie was an appropriate subject for Satrapi.
She was a woman moving through institutions largely controlled by men, an immigrant navigating another culture, an intensely driven person unwilling to fit comfortably inside expectations assigned to her.
Satrapi did not need a character to resemble herself literally in order to recognize a familiar struggle over identity and independence.
🖌️ Returning to Painting
Over time, Satrapi increasingly moved away from comics and toward painting.
Portraiture became especially important.
Her paintings frequently focused on women, color, faces, interior spaces, and compositions far removed from the stark black-and-white visual world of Persepolis.
The shift reinforces how incomplete it is to define Satrapi solely as a graphic novelist.
Comics made her internationally famous.
They did not exhaust her artistic interests.
Painting allowed her to return to a medium closer to her formal artistic training and to work without the narrative demands that had shaped her books and films.
🏅 The Académie des Beaux-Arts
In February 2024, Satrapi was elected to France’s Académie des beaux-arts in its cinema and audiovisual section, succeeding filmmaker and actor Jacques Perrin. [8]
The election marked extraordinary institutional recognition for an artist whose career had begun largely outside conventional cultural hierarchies.
The creator of an independent black-and-white comic about an Iranian girl had become part of one of France’s major artistic institutions.
Yet Satrapi never seemed especially interested in becoming respectable simply for the sake of respectability.
Recognition mattered less than continuing to work.
🧶 Art for the Paris 2024 Games
Satrapi also created a major work connected with the Paris 2024 Olympic and Paralympic Games.
Her design was translated by artisans from the Gobelins and Beauvais manufactories into a monumental woven triptych measuring roughly nine meters across. [9]
The work connected contemporary art with centuries-old French textile craftsmanship and used athletic imagery associated with the Games.
It also demonstrated how far Satrapi’s visual practice had expanded.
A drawing could become a comic panel.
A painting.
A film.
Or an enormous tapestry.
The medium changed.
Her strong sense of composition remained.
✊ Woman, Life, Freedom
The death of Mahsa Jina Amini in September 2022 after her arrest by Iran’s morality police was followed by widespread protests in Iran under the slogan “Woman, Life, Freedom.” Satrapi subsequently helped create and direct the collaborative graphic project Woman, Life, Freedom, bringing together artists, journalists, researchers, and writers to document the protest movement and provide historical and political context. [4]
Published first in France and later in English, the project returned Satrapi to a form closely related to the one that had made her famous.
Again, comics became a way to make political history visible through individual stories and images.
Yet the book differed from Persepolis in one important respect.
Satrapi was no longer primarily telling her own story.
She was creating a structure through which many other people could contribute theirs.
🗣️ A Public Voice on Iran
Satrapi remained publicly critical of the Iranian government and supportive of protesters seeking expanded rights and freedoms. [4]
At the same time, she consistently distinguished the Iranian state from Iranian people and culture.
That distinction had been present from Persepolis onward.
Criticizing a government did not mean rejecting a country.
Satrapi’s work is filled with affection for Iranian food, family life, language, music, humor, memory, and culture even when it is sharply critical of political authority.
This distinction prevented her criticism from turning Iran into a caricature.
The country remained home even after she could no longer live there.
🎖️ Refusing the Legion of Honour
In 2025, Satrapi declined France’s Legion of Honour.
In explaining the decision, she criticized aspects of French policy toward Iran, particularly what she viewed as unequal treatment of Iranian dissidents compared with well-connected Iranians able to travel or settle in France. Reuters reported her decision and her stated reasons at the time. [5]
The episode was characteristic of Satrapi’s public life.
She had built her career in France, became a French citizen, represented French cinema internationally, and was elected to the Académie des beaux-arts.
None of this meant she considered herself obligated to accept every honor offered by the French state.
Belonging, for Satrapi, rarely meant obedience.
🌍 Iran and France
Satrapi’s identity is often described as Iranian-French, and the hyphen matters.
France became the country in which she built most of her adult creative life.
Iran remained the place from which much of her memory, imagination, and political concern emerged.
She belonged fully to neither simple category because her experience had made both necessary.
This is one reason Persepolis remains such a powerful book about exile.
It does not end with the discovery of a new home that erases the old one.
The old home remains.
The new one becomes real.
The person lives between them.
🪞 Refusing to Become a Symbol
The international success of Persepolis created a peculiar problem for Satrapi.
Readers and journalists could easily turn her into a representative of Iran, Iranian women, exile, political dissidence, graphic novels, or cultural conflict between “East” and “West.”
Her work repeatedly resists this burden.
Satrapi is interesting precisely because she is not representative of everyone.
She is one person.
Her family is one family.
Her memories are her memories.
The power of Persepolis emerges from this specificity rather than from any claim to speak for an entire country.
That is a valuable distinction whenever autobiography intersects with political history.
A memoir is testimony.
It is not a census.
🎨 Simplicity and Complexity
Satrapi’s art contains a productive contradiction.
The drawings can look simple.
The ideas rarely are.
This allows readers to enter difficult historical material without facing pages crowded with explanatory information.
A small number of lines creates a face.
A black background creates fear.
A room becomes a political space.
A crowd becomes a mass of repeated shapes.
The visual economy leaves room for readers to think.
Satrapi understood that complexity does not always require visual complication.
Sometimes removing detail makes the remaining detail impossible to ignore.
😂 Laughter Against Simplification
Humor remained one of Satrapi’s most effective ways of resisting stereotypes.
Political narratives tend to turn people into categories.
Victims.
Revolutionaries.
Exiles.
Oppressors.
Refugees.
Dissidents.
Satrapi put jokes back into the picture.
A person can live under repression and still be vain.
A revolutionary family can still argue about ridiculous things.
A teenager living in exile can still make terrible romantic choices.
A respected adult can behave foolishly.
Humor restores the messiness that categories remove.
For Satrapi, that messiness was essential to truth.
🧑🎨 The Artist Beyond Autobiography
Because Persepolis was so successful, Satrapi sometimes became identified almost completely with autobiographical work.
Her later career demonstrates why that is inadequate.
She directed psychological horror.
Made a Marie Curie biography.
Painted portraits.
Designed monumental art.
Collaborated with other creators.
Supported young filmmakers.
Satrapi did not spend the rest of her life endlessly illustrating herself.
Autobiography opened the door.
She kept walking.
🎬 Supporting the Next Generation
Shortly before her death, Satrapi established the Fondation pour le cinéma Mattias et Marjane Ripa-Satrapi through the Académie des beaux-arts.
The foundation was created to help international students come to Paris to study cinema. [10]
The project reflected another stage of her career.
Satrapi had once been the young immigrant artist arriving in France and trying to find a place within a new creative culture.
Decades later, she was using her position to help other young artists make a similar journey.
That creates a moving symmetry within her life.
Exile had been painful.
It had also made another artistic life possible.
Near the end, she tried to make that possibility available to someone else.
🕯️ Marjane Satrapi’s Death
Marjane Satrapi died on June 4, 2026, at the age of fifty-six. Her death was confirmed publicly by her family and commemorated by the Élysée Palace, Festival de Cannes, Académie des beaux-arts, publishers, artists, and cultural institutions. [6]
Her death came little more than two years after her election to the Académie and only months after the creation of her film foundation.
The timing makes the loss feel especially abrupt.
Satrapi had not become an artist primarily associated with completed work and retrospectives.
She was still creating institutions, supporting younger filmmakers, painting, and participating actively in cultural life.
Her career feels unfinished because it was.
📚 Why Persepolis Still Matters
Persepolis remains important because Satrapi found a way to make historical complexity emotionally immediate without pretending that one memoir could explain everything about Iran.
Readers encounter revolution through a child.
War through a neighborhood.
Exile through adolescence.
Political repression through clothing, school rules, family conversations, fear, and the choices people make privately.
The memoir also complicates easy assumptions about both Iran and Europe.
Iran is neither a mysterious monolith nor merely a place from which the narrator must escape.
Europe is neither villain nor uncomplicated sanctuary.
Both contain freedom and constraint, kindness and cruelty, belonging and alienation.
Satrapi trusted readers to live with those contradictions.
📖 Reading Satrapi Beyond Persepolis
Anyone discovering Satrapi through Persepolis has several directions to continue.
Embroideries offers a funny, intimate window into women speaking among themselves without the formal historical architecture of the memoir. Chicken with Plums is darker, more formally playful, and deeply concerned with love, art, regret, and mortality. The film version of Persepolis demonstrates how Satrapi translated her graphic language into movement and sound, while The Voices and Radioactive reveal how far her interests extended beyond autobiography.
Woman, Life, Freedom belongs to another phase altogether. It returns to Iran and graphic storytelling but does so collaboratively, placing Satrapi within a larger network of artists, scholars, and witnesses rather than at the narrative center.
Together, these works reveal an artist who kept changing form without abandoning her central fascination with freedom, identity, memory, and the complicated ways people construct lives within forces larger than themselves.
🌟 Why Marjane Satrapi Still Matters
Marjane Satrapi matters because she refused simplification at almost every stage of her career.
Iran could not be reduced to its government.
Europe could not be reduced to freedom.
Exile could not be reduced to rescue.
Women could not be reduced to victims.
Political people could not be reduced to slogans.
Artists could not be reduced to one medium.
Even Satrapi herself could not be reduced to Persepolis, no matter how important that book became.
Her strongest work continually restores individual personality to subjects often discussed in abstractions. Revolution becomes a child listening to adults talk. Exile becomes an adolescent trying to find a place to sleep. Cultural identity becomes a complicated argument inside one person. Political resistance becomes entangled with family, clothing, music, humor, pride, fear, and memory.
Satrapi understood that the personal does not make history smaller.
It makes history visible.
🎂 Remembering Marjane Satrapi on Her Birthday
November 22 now offers a fitting occasion to remember Marjane Satrapi and a life that crossed countries, languages, artistic forms, and cultural identities without ever settling comfortably into one category. She grew up in Tehran during revolution and war, left Iran as a teenager, experienced exile in Vienna, returned home, studied art, left again, and built the creative life that would make her one of France’s most internationally recognizable artists.
Then came Persepolis.
The memoir transformed memories that might have remained private into a visual narrative read around the world. Yet Satrapi did not allow its success to dictate the rest of her career. She wrote intimate stories about Iranian women and family life, made films, directed actors far removed from her own biography, painted, designed monumental public art, collaborated on Woman, Life, Freedom, joined the Académie des beaux-arts, and created a foundation intended to help young filmmakers cross borders in search of artistic opportunity.
Her work remains especially valuable because it does not ask readers to choose between affection and criticism, tragedy and humor, Iran and France, autobiography and politics, or art and ordinary life. Those things can exist together.
Satrapi spent much of her career drawing boundaries that governments, cultures, and other people had constructed around individual lives.
Then she kept crossing them.
Her life ended far earlier than anyone expected, but the work she left behind continues doing exactly what it always did best: opening a door into another person’s experience and refusing to let that person become a stereotype.
The regime had understood that one person leaving her house while asking herself:
Are my trousers long enough?
Is my veil in place?
Can my make-up be seen?
Are they going to whip me?
No longer asks herself:
Where is my freedom of thought?
Where is my freedom of speech?
My life, is it liveable?
What’s going on in the political prisons?
-Marjane Satrapi, The Complete Persepolis
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📚 Sources & Further Reading
- Festival de Cannes — Persepolis
- Académie des beaux-arts — Marjane Satrapi
- Festival de Cannes — Marjane Satrapi
- Seven Stories Press — Woman, Life, Freedom
- Reuters — Marjane Satrapi Dies at 56
- Élysée — Tribute to Marjane Satrapi
- British Film Institute — Radioactive
- Académie des beaux-arts — Marjane Satrapi Elected to the Academy
- Paris 2024 — Marjane Satrapi’s Olympic Cultural Project
- Académie des beaux-arts — Death of Marjane Satrapi
- Penguin Random House — Marjane Satrapi
- Festival de Cannes — Farewell to Marjane Satrapi
