Lezate divanegi (Joy of Madness, 2004)

There’s nothing particularly polished about this documentary, a sort of extended making-of feature, but it shines in what it captures of the struggle Samira Makhmalbaf undertook to make her film At Five in the Afternoon (2003). It’s also made by Samira’s younger sister Hana (yet another woman making excellent films under the Makhmalbaf Film House banner), herself a teenager at the time, which makes it all the more fascinating. Basically, we see a series of scenes of Samira battling to convince local Afghan actors to take roles in her film (which is primarily about the setbacks in educating women after the Taliban have been ousted from the country). She tries to convince a mullah to drive a cart, and when he starts to feel foolish or inadequate to the task (presumably), she has to convince him not to renege on his word as a cleric. Then there’s her lead actor (Agheleh Rezaie), who takes quite some persuading of the film’s merit, as baseless rumours fly around of the production’s immorality, and that it will kill kids (not to mention require people to wake at four in the morning for several months). Still, we know from the existence of the finished feature (which is excellent) that Samira prevails — the documentary finishes before shooting begins — and we have this document to prove it’s possible for women to make thought-provoking and polished films even under intolerant regimes.


FILM REVIEW
Director/Writer/Cinematographer Hana Makhmalbaf | Length 71 minutes || Seen at home (DVD), London, Wednesday 31 May 2017

Panj e asr (At Five in the Afternoon, 2003)

It’s fair to say that Samira Makhmalbaf is very much her own filmmaker (despite working with her more famous father, Mohsen), and it’s evident from this feature that she has an exceptional control over her actors, not to mention the visual style. There are numerous shots which have great beauty and formal rigour. Of course, that would be nothing were it not for her script, which puts across one woman’s life (Nogreh, played by Agheleh Rezaie) in ‘liberated’ Afghanistan. Without being overtly magical it puts across an almost dreamlike reality; without being politically angry it puts across an astute argument for change (its protagonist has dreams of becoming President); and without being strident (not that there’d be anything wrong with that), it makes a clear case for the promotion of women’s rights across the region. It’s at heart a humanist and warm film about a situation that’s anything but.


FILM REVIEW
Director Samira Makhmalbaf | Writers Mohsen Makhmalbaf and Samira Makhmalbaf | Cinematographers Ebrahim Ghafori and Samira Makhmalbaf | Starring Agheleh Rezaie | Length 107 minutes || Seen at home (DVD), London, Tuesday 7 February 2017

Motley’s Law (2015)

This is another of several recent fascinating documentaries which touches on the evolving situation in the Middle East, specifically the slow rebuilding of Afghanistan, via an American woman who works as a lawyer there for part of the year. As with any documentary, choosing your subject wisely is half the work, and Kimberley Motley jumps off the screen as a big personality, and the fact of being the only foreign lawyer working within the Afghan justice system is certainly an unusual selling point for the story. In the end, it really is a film largely about her, as it contrasts her work in Afghanistan with her family life back home in the USA, and increasingly is about the challenges she faces juggling these commitments. She’s no social justice warrior, or someone out to make a point about US involvement in the Middle East — though there’s an unintended irony about security as her husband’s own story takes a shocking turn — she just needs to make money to support her family life. Indeed, one gets the sense that this is a defining story of a generation, looking for opportunities and seizing upon them despite the risks. These risks start to overwhelm her story towards the end, though Motley remains indefatigable in the face of them, even as the Danish documentarians who’ve made the film are seen becoming increasingly fearful.


NEW RELEASE FILM REVIEW
Director/Writer Nicole N. Horanyi | Cinematographer Henrik Bohn Ipsen | Length 85 minutes || Seen at Curzon Bloomsbury, London, Tuesday 12 April 2016