سه رخ Se rokh (Three Faces, 2018)

This work by Jafar Panahi seems to be, quite clearly, an homage to Abbas Kiarostami. Just the way that much of the film is a picaresque drive around this rural countryside (where most of the population speak Azeri, rather than Farsi) brings to mind so many of Kiarostami’s films: the woman lying in her grave and the dusty hillside harks back to Taste of Cherry (1997), the detail of a man searching for mobile phone reception to The Wind Will Carry Us (1999), the homes and customs of rural people seen in the Koker trilogy, and the way (so typical of Kiarostami) that sometimes a crucial moment can only be seen in extreme long-shot, so we as audience have to fill in the gaps. All of these touches are there, and all are handled very nicely by Panahi’s camera, which follows him and actor Behnaz Jafari as they look for a young woman (Marziyeh Rezaei) who feels trapped by her small-town life and wants to be an actor. There’s an understated humour, and a lot of sly commentary on women’s rights in a more traditional society, as well as what has come to define Panahi’s recent work, which is a sort of meta-level at which it operates (it is filmed like a documentary, yet when Jafari is suspicious of the incident that sets up their journey, she alludes to a script that Panahi had shown her with the same story, implying that perhaps she is unwittingly acting in one of his films, just before he takes a call from his mother and assures her he isn’t off making a film). This is a very likeable work that, even as an homage, has plenty of its own distinct charms.

Film posterCREDITS
Director Jafar Panahi جعفر پناهی; Writers Panahi and Nader Saeivar نادر ساعی‌ور; Cinematographer Amin Jafari امین جعفری; Starring Behnaz Jafari بهناز جعفری, Jafar Panahi جعفر پناهی, Marziyeh Rezaei مرضیه رضایی; Length 100 minutes.
Seen at Curzon Bloomsbury, London, Thursday 4 April 2019.

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تاکسی Taxi (aka Taxi Tehran, 2015)

Of all last year’s films I’ve belatedly caught up on, this is the most likely to have been top-10 rated. For all the difficulties of its creation — its director, after all, is still officially banned from making films, and so this one is released without any credits — it never feels anything less than fresh and insightful. The set-up, which undoubtedly has a documentary-like flavour to it for official censorious reasons, is that director Jafar Panahi is driving a cab around Tehran while surreptitiously filming his fares from a hidden dashboard camera, which he occasionally manipulates to turn around and face out to the street (though there appears to be a second camera somewhere in the roof). Needless to say, it’s not at all clear that all of this isn’t staged, but it’s a fascinating insight into a hidden society every bit as damning as, say, The Circle (2000), or one of Panahi’s earlier, licit, films, while being on the surface fairly sunny and easygoing — no little thanks to Panahi’s friendly, smiling presence in the driver’s seat. There’s also, as is de rigueur for a certain strand of Iranian filmmaking (his first two films were The White Balloon and The Mirror, the latter referenced here), an adorable young girl, Panahi’s niece, who seems pretty on-the-ball about filmmaking, and is the conduit for explicitly introducing the Islamic State’s official self-censoring rules about it. The film may never leave the confines of the car, but it never feels claustrophobic or limited as a result, but is instead a free-wheeling portrait of a society, and a ripose to Panahi’s official critics.

Taxi Tehran film posterFILM REVIEW
Director/Writer/Cinematographer Jafar Panahi جعفر پناهی; Starring Jafar Panahi جعفر پناهی; Length 82 minutes.
Seen at Picturehouse Central, London, Tuesday 19 January 2016.