A poetic and
thoroughly frustrating
document of a grave
injustice against art.
If you are not aware of the unjust arrest and ban from film making which was committed upon Jafar Panahi by the Iranian government, I highly recommend that you do some research before watching this film. This context highly benefits the viewing experience in this instance. The fantastic
web-show Brows Held High did a spectacular episode on this film, which gave all the appropriate background information without spoiling too much and I recommend this before watching the film.
Aside from the background surrounding it, how does this film stand on it's own terms?
Beautifully.
This is by far the best film I could have opened documentary month with, because this is where film making (and by extension, all true art) begins. Raw creativity, passion and above all, guts. This is one of the most risky and dangerous cinematic gambles I have ever seen, and it pays off tenfold.
Jafar Panahi shows all of the frustration, despair and angst expected of a man in his position. However he adds more than just that, the emotion that I see most from Panahi in this film is longing. He is a filmmaker who was forcefully shot down in the prime of his career, with films he still wanted to make. Watching his attempt to somehow breath life into a screenplay he can no longer produce is a maddening experience, even more so to anyone who knows how frustrating it is have projects which you know can never be achieved.
Aside from it's relevance to filmmakers on the whole, This...non-film, is also simply an enjoyable insight into a fascinating individual. I have never seen any of Panahi's other films before now, however I am certainly eager (even more so due to the clips Panahi plays during this film). Panahi's critical, yet benevolent attitude towards Middle-Eastern society seems to be prevalent throughout his films, and he may be the perfect introduction to Iranian film for me, a culture I have almost no experience with.
The film this reminds me of most is Werner Herzog Eats His Shoe, which was also a small scale insight into a fascinating filmmaker I have no real experience with. However where as that film was laid-back and relaxed in tone, this film has a constantly tense atmosphere. It almost feels like Panahi will be taken by the police, due to breaking his ban on filmmaking, at any moment and the occasional mentions of increasing police activity throughout the film makes matters even worse. We feel all of Panahi's fears first hand, and we feel his utter helplessness as he see him watching news footage of natural disasters within Iran. For all he knows, Iran is literally burning around him.
In conclusion, this film was a daring and wonderfully done insight into both a grave injustice, and a very interesting man. I desperately hope that Panhi is able to somehow keep his career going, for he of all people deserves recognition.
By Jack D. Phillips
A Zoom Film Review
Documentary Month 2015 #1
Beautifully.
This is by far the best film I could have opened documentary month with, because this is where film making (and by extension, all true art) begins. Raw creativity, passion and above all, guts. This is one of the most risky and dangerous cinematic gambles I have ever seen, and it pays off tenfold.
Jafar Panahi shows all of the frustration, despair and angst expected of a man in his position. However he adds more than just that, the emotion that I see most from Panahi in this film is longing. He is a filmmaker who was forcefully shot down in the prime of his career, with films he still wanted to make. Watching his attempt to somehow breath life into a screenplay he can no longer produce is a maddening experience, even more so to anyone who knows how frustrating it is have projects which you know can never be achieved.
Aside from it's relevance to filmmakers on the whole, This...non-film, is also simply an enjoyable insight into a fascinating individual. I have never seen any of Panahi's other films before now, however I am certainly eager (even more so due to the clips Panahi plays during this film). Panahi's critical, yet benevolent attitude towards Middle-Eastern society seems to be prevalent throughout his films, and he may be the perfect introduction to Iranian film for me, a culture I have almost no experience with.
The film this reminds me of most is Werner Herzog Eats His Shoe, which was also a small scale insight into a fascinating filmmaker I have no real experience with. However where as that film was laid-back and relaxed in tone, this film has a constantly tense atmosphere. It almost feels like Panahi will be taken by the police, due to breaking his ban on filmmaking, at any moment and the occasional mentions of increasing police activity throughout the film makes matters even worse. We feel all of Panahi's fears first hand, and we feel his utter helplessness as he see him watching news footage of natural disasters within Iran. For all he knows, Iran is literally burning around him.
In conclusion, this film was a daring and wonderfully done insight into both a grave injustice, and a very interesting man. I desperately hope that Panhi is able to somehow keep his career going, for he of all people deserves recognition.
By Jack D. Phillips
A Zoom Film Review
Documentary Month 2015 #1
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