On Tuesday, award-winning Iranian filmmaker Jafar Panahi was ordered to serve. 6 years imprisonment By the judicial system of Iran. He was detained last week after asking about another director, Mohammad Rasoulof, who was arrested in early July as government crackdowns intensified.
For the past three decades, now 62, Panahi has produced playful, smart and politically bold films that cleverly blend the day-to-day realism of Iran from a clever meta-cinematic perspective. His humanist filmmaking secured his position in the Pantheon alongside Iran’s great Abbas Kiarostami, avoiding the feeling that he was simply experimenting with the film.
Panahi’s creative enthusiasm did not dim, despite the official ban on filmmaking and travel in 2010. He was arrested for supporting the protest, imprisoned despite international anger, and sentenced to current enforcement.
Faced with oppression, Panahi continued to find new ways to sneak up on the world. Here are five highlights of his work, all of which can be streamed or rented.
Panahi’s coaching career begins with two different characteristics of child misery on the streets of Tehran. The charm of his 1995 debut “White Balloons” first appeared. Reference channel). However, Panahi then added an unpredictable twist in “The Mirror.” This time, the girl in the center of the movie becomes a villain to the director. When Mina (Mina Mohammad Crab) graduates from school and waits, it begins innocently, but her mother can’t be found anywhere. She’s on the bus and doesn’t know her way back, so she’s looking at the one-act play of the people around her. At some point, Mina announces that she has performed well and she has left. A clear break from this fiction begins a new chapter as Panahi (who oversees whatever we see now) is in a hurry to catch up with his AWOL star. It’s a great introduction to his ability to tell a story, even when the ground moves under our feet.
The first few seconds drop us in the midst of an armed robbery in a dark jewelery store. Hussein, the shooter, rises above the store owner, but he delivers pizza to earn a living, and the invasion was a last resort. Using a script written by Kiarostami, Panahi portrays a cross-section of Iranian society as an unfortunate man’s pizza runs around the town and faces national bite inequality. Hossein is played by Panahi’s other indelible non-professional actor, Hussein Emadedin. Hussein Emadedin brings bone fatigue to a character identified as a war veteran (another controversial subject in Iran). Panahi’s predecessor, The Circle, won the Grand Prize at the 2000 Venice Film Festival and bolded him to create this moody and fascinating portrait that was banned in Iran, he said. I did.
Frequently pleasing in Panahi’s films is his hypothetical approach to the sometimes ridiculous clash between religiously controlled modern life in Iran and conservative rules. Here, a group of young women just want to go to the World Cup qualifiers at Tehran Stadium, but post-revolutionary law requires that only men can participate in football matches. Followed by disguise and Shenanigan (inspired by Panahi’s daughter, who once slipped into the game and surprised him at his seat). However, the women are detained by the soldiers just outside the entrance, and the soldiers want to be somewhere else. The Documentary comedy Find humor in ridiculous and annoying situations with a partially drawn cast from college students. But it reflects Panahi’s clear passion for exposing what women endure in Iran, and it is prickly to see the younger generation of Iran being driven by bystanders of life. There is a symbol.
year 2012
“This is not a movie”
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Pure magic. Under his house arrest, Panahi is reminiscent of a witty, original essay about the limits of artistic creation and domination. He thinks aloud, eats, welcomes strange visitors, talks to lawyers, and tapes movie ideas on the comfortable apartment floor. (His daughter’s probably huge iguana makes a surreal cameo.) He does all this while technically prohibited from making movies-hence the title, and hence the movie from Iran. Need to be smuggled. The putter and improvisational appearance believes in the depth of insight of the film and the rebellious elasticity of the director. It’s not a director’s movie, so you can see again how it’s done. (Panahi fans and iguana cameos can see variations of the pandemic quarantine by tracking Panahi’s entry in the omnibus movie.Eternal storm yearAt Hulu. )
2019
“Three faces”
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Panahi’s latest features, and one of his most interesting features, go to the countryside far from his usual Tehran setting. It’s a fascinating combination of urgent premise — Panahi and the famous actress (Bena’s Jaffari) are chasing a young woman from an annoying cell phone video — and a road movie event. The pair visited the hometown of a young woman in a video (whose family forbade her to act) to several quirky inhabitants, including an older famous actress who lived in her exile. Encounter A free-flowing film shot in Panahi’s grandparents village near the Turkish border, between certain hidden Earth salt locals (disapproving entertainers) and directors and actresses trying to understand it. Everything that draws the colorful contrast of. Like his best work, Panahi makes us feel as if we never go down the same path again.
