Silence is also significant to Tavakolian. “When you say too much, there is no space for people to have their own ideas, to add something,” she says. “Ambiguity is important to me.” At one point, we see an aerial shot of people walking in different directions. “The insanity of the left side is always present. The right side was nice, it was kind,” the voiceover says, before proceeding to talk about air pollution. The spectator is likely to be left feeling confused, without really understanding what is going on. And that seems to have been Tavakolian’s intention. “The whole project was about uncertainty, whether it’s reality or just an illusion,” Tavakolian says. She worked closely with the sound designer, Kamran Arashnia, to create an abstract atmosphere, resembling her experience of PMS. The sound, at times, can be uncomfortable.
Tavakolian’s approach to this project is different from that of her photojournalism work. But, she did get ideas from past assignments. One of the scenes in For The Sake of Calmness portrays a landscape of sunflowers, wrapped in plastic. “I saw this while on assignment for National Geographic in Iran’s salt lake Urmia,” she explains. “The farmers wrapped them inside plastic bags so that birds and other animals don’t come to the seeds and to protect them from the wind.” Tavakolian can’t pinpoint exactly why she incorporated this scene or how it ties into PMS. It was intuitive. “The whole point of my project is about abstracted feelings. If it is easy to explain and talk about, I wouldn’t do this project,” she says.
The project first went on show without an explanation or artist’s statement accompanying it, in part, because Tavakolian feared men would avoid going to it given PMS does not relate to them directly. However, she believes everyone should understand the syndrome. “If men had something similar, the whole world would gather to research it,” she said. “That’s why it took so long to start to understand it.”