Three actresses at different stages of their career. One from before the 1979 Islamic Revolution, one popular star of today known throughout the country and a young girl longing to attend a drama conservatory.
It's been months since Jafar Panahi, stuck in jail, has been awaiting a verdict by the appeals court. By depicting a day in his life, Panahi and Mojtaba Mirtahmasb try to portray the deprivations looming in contemporary Iranian cinema.
When a young girl becomes lost in the hustle and bustle of Tehran, her journey turns into a dazzling exercise on the nature of film itself. In this ingenious and daringly original feature, ... See full summary »
Mina Mohammad Khani,
During the marijuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.
Set in seemingly contemporary times, a man who belongs to a persecuted minority attempts to escape from fascist-run France to America but falls in love with the wife of a dead author whose identity he has assumed.
Well-known actress Behnaz Jafari is left distraught when she comes across a provincial girl's video plea for help, after her family prevents her from taking up her studies at the Tehran drama conservatory. Behnaz abandons her shoot and turns to filmmaker Jafar Panahi to help with the young girl's troubles. They travel by car to the rural northwest, where they have amusing encounters with the charming and generous folk of the girl's mountain village. But Behnaz and Jafar also discover that old traditions die hard.Written by
It is a road movie basically all about people talking and wandering, with a particular camera focus on Nature and the simplicity of life. In this kind of fashion, it constantly resembles the late Abbas Kiarostami's metafictional style: the director, Panahi, pays homage to his compatriot, elaborating on very similar scenes - note to Taste of Cherry (1997) & Through the Olive Trees (1994) -, camera angles, themes and issues. He also works with non-professional actors, except for Behnaz Jafari and himself, who both play themselves, choosing not to credit his alter ego to another person, in contrast only in this last chapter with what Kiarostami would do. Based in a simple, but effective story, it works as Iran's self-portrait, exposing its religious, oppressive, sexist and misogynist traditions. Saying that, (NOT ONLY) in the movie, there's an urgency about mentioning women's role in Iranian society. The director's sense of humanity is so bright that he tackles this worrying subjects tracing a very thin line between a very fine humour and deep seriousness. Suicide is also a subject, but sadly gets somehow lost on the way. As a social commentary that lies on the plot's outcome to declare a "victory", audiences may not comprehend it at the end or even feel unrewarded, but I assure you: it's all there.
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