Advertisements

Tag Archives: Mohammad Rasoulof

CIFF ’13: 13 Most Wanted

Here are a baker’s dozen of the titles I’d most like to see turn up at the Chicago International Film Festival in October. I actually compiled this list before the release a couple weeks ago of CIFF’s “Sneak Preview” confirming that Blue is the Warmest Color will indeed receive its Chicago premiere at the Fest. I also forgot that the Jarmusch movie has no chance in hell of making the cut because it’s being released by Sony Pictures Classics, a distributor with a long track record of pointedly not submitting their films to CIFF. But whatever. Even if you don’t know or care anything about the Chicago International Film Festival, consider this a handy guide to a bunch of exciting-looking movies that should hopefully be turning up soon at a theater near you. I’m including links to trailers or clips wherever possible.

Bastards (Denis)

Early reaction to Claire Denis’ latest has been typically divisive but fans of the grand dame of French art cinema have reasons to set expectations high: this stars Michel Subor (who also starred in my two favorite Denis films: Beau Travail and The Intruder) as a sleazy businessman who somehow brings a middle-class family to ruin. More importantly, it has been described as Denis at her grimmest — as well as her most puzzle-like and elliptical. As someone who thinks Denis’ greatest strengths arise from the abstract alchemy she works in collaboration with cinematographer Agnes Godard and composer Stuart Staples, that is music to my ears.

Blind Detective (To, Hong Kong)

The Cannes premiere of Johnnie To’s latest seemed to provoke predominantly quizzical reactions from critics, many of whom condescendingly assumed that its more delirious elements were specifically designed to go over well with Hong Kong audiences. But for fans (who truly span the globe) of the world’s greatest genre filmmaker, this sounds like Johnnie To heaven: it reunites Andy Lau and Sammi Cheng (who first teamed up in To’s Needing You way back in 2000), the former as the title character who comes out of retirement to help solve a cold case. There’s also supposedly slapstick comedy, grisly murders, mystery, romance, cannibalism and “food porn.” Who wouldn’t want to see this?

Blue is the Warmest Color (Kechiche, France)

I’m still not sure how I feel about Abdellatif Kechiche, the talented Tunisian-born French filmmaker whose latest, a controversial coming-of-age lesbian love story, took Cannes by storm. I like the way he plays with narrative structure: there are scenes in his highly regarded The Secret of the Grain that are “too long” that eventually take on a kind of hypnotic quality (a scene of an extended family eating together, a climactic belly dance) and yet, aesthetically, he also indulges in an overuse of close-ups and a sub-Dardennes style of shaky-cam realism that feels uninspired. If nothing else, Blue is the Warmest Color should be worth seeing for the performances of the lead actresses, who, in an unprecedented move, were asked to share the Palme d’Or with their director by the Steven Spielberg-led Cannes jury.

Closed Curtain (Panahi/Partovi, Iran)

Incredibly, this is Jafar Panahi’s second film to be clandestinely made and smuggled out of Iran since the director was placed under house arrest in 2010 and banned from making films for 20 years. The first, the documentary This Is Not a Film, was shot on a cheap digital camera and an iPhone and dealt explicitly with Panahi’s imprisonment. (It was also one of the best films I saw last year.) This follow-up is a narrative — about a man and his dog on the run from corrupt government officials — in which the fictional story supposedly gives way to something more self-reflexive when Panahi himself appears onscreen. Closed Curtain received raves in Berlin where it won the Best Screenplay prize.

The Immigrant (Gray, USA)

I’m a latecomer in appreciating James Gray, an ambitious writer/director whose mature character-based dramas hark back to the New Hollywood of the 1970s. A year ago I was completely unfamiliar with his formidable body of work but I’ve now seen his first four films and I think each one is better than the last. So I’m especially excited to see The Immigrant, his first period piece, which won raves (but no awards) at Cannes. This deals with a Polish woman (Marion Cotillard) in early 20th-century Manhattan caught between a vicious pimp (Joaquin Phoenix) and a kind-hearted magician (Jeremy Renner).

Inside Llewyn Davis (Coen/Coen, USA)

With the exception of The Big Lebowski, which I think is a masterpiece of modern comedy, I tend to admire the films of the Coen brothers more than I actually like them (and some of their more smart-alecky exercises I actively dislike). I must admit, however, that Inside Llewyn Davis looks exceptionally promising — not because of the predictable raves at Cannes (where they’ve always been feted, and walked off with the Best Director prize even for The Man Who Wasn’t There) — but because of the subject matter: what looks to be an impeccable recreation of the Greenwich Village folk music scene in the early Sixties loosely based on the autobiography of underappreciated singer Dave Van Ronk. This has been described as low-key and unusually heartfelt. Oscar Isaac, Carey Mulligan, John Goodman and Justin Timberlake star.

Jimmy P. (Psychotherapy of a Plains Indian) (Desplechin, France/USA)

Arnaud Desplechin (Kings and Queen, A Christmas Tale) is one of the most interesting French directors at work today. Jimmy P., a Michigan-shot Franco-American co-production, tells the true story of the relationship between a French psychoanalyst (Mathieu Amalric) and an American Plains Indian and WWII vet (Benicio Del Toro). This got mixed reviews at Cannes (with the most frequent criticisms being that it’s too talky and cinematically conventional) but it also had its defenders and looks right up my alley in a John Ford-meets-A Dangerous Method kind of way. Kent Jones, one of America’s finest film critics, co-wrote the screenplay.

A Touch of Sin (Jia, China)

For almost 20 years Jia Zhangke has been an important chronicler of China’s present, illustrating how ordinary citizens have been affected by the PRC’s rapidly changing social, political and economic landscapes. A Touch of Sin has been described as something of a departure in that it includes gangster-movie elements, and shows how the lives of four loosely-related characters are touched by violence. Jia took home the Best Screenplay prize for this at Cannes. The title is a play on A Touch of Zen, King Hu’s seminal martial arts movie from 1971.

Manuscripts Don’t Burn (Rasoulof, Iran)

Manuscripts

Mohammad Rasoulof isn’t as well known as Jafar Panahi but he’s a talented filmmaker who has likewise gotten into hot water with the Iranian authorities for his explicitly political work. His latest has something to do with two low-level government workers who are tasked with assassinating a dissident writer and making it look like a suicide. This won the FIPRESCI prize when it screened in Cannes’ Un Certain Regard sidebar. The title intriguingly alludes to a famous line from Mikhail Bulgakov’s anti-authoritarian masterpiece of Soviet literature The Master and Margarita.

Only Lovers Left Alive (Jarmusch, USA)

Jim Jarmusch’s latest, a vampire film about centuries-old lovers played by Tilda Swinton and Tom Hiddleston, received a lot of love at Cannes. Only Lovers Left Alive has been described as beautiful, poetic and funny, with — as is typical of Jarmusch — a wealth of allusions to the director’s favorite movies, music and literature. It has also been described as a tribute to the city and culture of Detroit where it was partially shot (and which Jarmusch has described as the “Paris of the Midwest”). Mia Wasikowska and John Hurt co-star.

Stranger by the Lake (Guiraudie, France)

Alain Guiraudie has won an ever-expanding cult of admirers since his feature debut Du soleil pour les gueux in 2001. In films like That Old Dream That Moves and No Rest for the Brave, he has crafted a singular style that combines Surrealism, homoeroticism, class observations and a nice feel for provincial locations in the southwest of France. Stranger By the Lake, a thriller set in a park known as a cruising spot for gay men, has upped his profile considerably: critics and audiences at Cannes responded favorably to its mix of sinister and erotic elements (including, apparently, unsimulated sex acts). This has already been picked up for distribution by Strand Releasing; given that distributor’s track record with CIFF (e.g., Uncle Boonmee Who Can Recall His Past Lives), it’s a good bet that this will turn up at the festival.

The Three Disasters (Godard, Switzerland)

threedisasters

The Three Disasters is a short film by Jean-Luc Godard that is one part of a triptych known as 3X3D (the other segments are directed by Peter Greenaway and Edgar Pera). Godard’s short was named by some critics as the best film to screen at Cannes in 2013 (when it played in the Critic’s Week sidebar). This is Godard’s first movie in 3-D and it has been described, somewhat confusingly, as some kind of rough draft for his forthcoming and long-gestating 3-D feature Goodbye to Language. The Three Disasters contains clips from other films (including Piranha 3-D!) in the manner of the director’s earlier Histoire(s) du Cinema and apparently takes James Cameron to task for using 3-D technology in an uninspired fashion. This is the film I’d most like to see play at CIFF; I fear it may be impossible to see in its proper stereoscopic version otherwise.

Venus in Fur (Polanski, France)

venus

As with 2011’s Carnage, Venus in Fur is another stage-to-screen adaptation by Roman Polanski, although this one sounds as if it may be a return to more personal territory in terms of its content: it details the sadomasochistic relationship between a tyrannical theatrical director (Mathieu Amalric) and an actress (Emmanuelle Segnier, Polanski’s wife) who insists she is perfect for the lead role in his new play. In spite of the fact that he has lived and worked primarily in France since the late-1970s, this is the first time Polanski has directed a film in the French language. Expect great acting, sexual perversity and expert single-locale mise-en-scene.

The lineup of the 2013 Chicago International Film Festival will be released soon. You can learn more, and see a sneak preview, at: http://www.chicagofilmfestival.com

Advertisements

47th Chicago International Film Festival Report Card

The line-up for the 47th Chicago International Film Festival wasn’t as exciting as the 46th (which saw the local debuts of the most anticipated offerings from Cannes, Certified Copy and Uncle Boonmee Who Can Recall His Past Lives, and brought Guillermo del Toro to town besides). This year, they curiously failed to nab even the highly buzzed top prize winners from Berlin (A Separation) and Venice (Faust). Still, while the CIFF isn’t perfect, it is the best festival Chicago has to offer; and with a hundred and fifty movies from fifty countries to choose from, there was still plenty to get excited about. I intentionally tried to make my selections as varied as possible and managed to take in eight films from eight different countries – from hardcore art films to escapist genre fare to things that fell somewhere in between. Several of the below titles will feature prominently on my “ten best” list of 2011.

Once Upon a Time in Anatolia (Ceylan, Turkey)
Grade: A+ / 9.7

Is there a contemporary director with a keener compositional eye than Nuri Bilge Ceylan? This haunting drama, a journey to the end of a long Turkish night, concerns the efforts of police officers, a prosecutor, and a doctor to lead a confessed murderer to the rural site where he allegedly buried his victim. The movie’s mesmerizing first two thirds feature gorgeous landscape photography that captures the Turkish countryside in stunningly composed long shots illuminated primarily by the yellow headlights of the police convoy. But like the great recent Romanian film Police, Adjective, Ceylan merely uses the “police procedural” as a pretext to investigate what might be termed the soul of his country. The final third, which takes place the following morning at an autopsy in a nearby town, reveals Anatolia‘s hidden moral center (the dialogue exchanges between the doctor and the prosecutor take on an increasing symbolic importance) and establishes this as one of the key movies of the 21st century.

The Turin Horse (Tarr/Hranitzky, Hungary)
Grade: A / 9.5

Or a speculative biography of the cabman whose whipping of a horse allegedly drove Nietzche mad. Bela Tarr’s final film, co-directed by his editor Agnes Hranitzky, covers six days in the life of the cabman ostensibly right after the famous anecdote took place. There is very little dialogue in this slowly paced, minimalist, amazingly photographed study of the cabman’s life. Instead, we see him and his daughter (played by Erika Bok, the little girl from Satantango) prepare meals and perform household chores in real time, a la Jeanne Dielman, as their lives spiral increasingly downward into a mysteriously apocalyptic despair. Like Nuri Bilge Ceylan, Tarr is sometimes unfairly labelled an austere “miserabilist” (let us not forget that Satantango actually contains a fart joke) and, like Once Upon a Time in Anatolia, there is a vein of mordant deadpan humor running through this movie that did not elude the packed house I saw it with. Eliciting the most chuckles was a scene where the cabman gives a curt response to a long-winded and pretentious monologue by a visiting neighbor, which mirrors Tarr’s own responses to those who attempt to analyze his work. I can’t wait to see this again.

Le Havre (Kaurismaki, France/Finland)
Grade: A- / 8.2

In this sweet and quirky comedy from Finnish director Aki Kaurismaki an elderly shoe shiner defies immigration authorities by helping a young African refugee in the French port town of the title. As the shoe shiner, Andre Wilms reprises his “Marcel Marx” character from Kaurismaki’s terrific 1992 tragicomedy La Vie de Boheme. If Le Havre isn’t quite as good as that earlier film (which I still think is the director’s best), it nonetheless resonates as a humane and refreshingly optimistic portrait of a neighborhood full of decent people coming together for a common good. I especially liked the unexpectedly touching relationship that develops between Marcel and an adversarial police inspector, which put me in the mind of the friendship between Rick Blaine and Captain Renault in Casablanca. This has added appeal for fans of pre-nouvelle vague French cinema as it is studded with references to classic movies from that era (e.g., important characters are named Arletty and Becker). Like most of the director’s work, this is nothing more or less than a good small film.

Goodbye (Rasoulof, Iran)
Grade: B+ / 7.6

A recently disbarred female lawyer living in Tehran must cope with her husband’s imprisonment and the decision of whether to have an illegal abortion, all while attempting to bribe the necessary officials in order to leave the country. It is impossible to separate this raw and harrowing portrait of Ahmadinejad’s Iran from the story of its making: it was directed under semi-clandestine conditions by Mohammad Rasoulof, a filmmaker facing a six year prison sentence on trumped up treason charges, and then smuggled out of the country for international distribution. The tone is undeniably (and understandably) bleak and despairing but this has an urgency that few contemporary movies can match.

Turn Me On, Dammit! (Jacobsen, Norway)
Grade: B / 7.4

Turn Me On, Dammit!, which premiered as Turn Me On, Goddammit! at the Tribeca Film Festival before receiving a title modification, is the best coming-of-age teen-sex comedy I’ve seen in ages, perhaps because it’s so truthful and frank in its depiction of teenage sexuality (with all of the awkwardness and confusion that implies), a quality with which its Hollywood counterparts cannot compete. Alma is a 15 year old sex-obsessed girl living in a small Norwegian town. After becoming embroiled in a local scandal (she claims Artur, a popular boy, poked his erect dick against her hip, a charge he denies), she finds herself becoming a pariah at her school. Meanwhile, her best friend Saralou dreams of moving to Texas so that she can protest capital punishment. This is the first fiction feature by Jannicke Jacobsen, a young director known previously for her documentaries, and she shows an impressive feel for childhood (the cast of non-professional performers is amazing) while painting a deft, universally relatable portrait of small town boredom.

Rabies (Keshales/Papushado, Israel)
Grade: B / 7.0

A quartet of young, attractive people cross paths with a knife-wielding maniac while traveling through a rural area. Think you’ve seen this movie before? Actually, you haven’t. The first ever horror film from Israel (made by first time writer/directors Aharon Keshales and Navot Papushado) is a nasty, darkly funny exercise in subverting the viewer’s expectations of the slasher genre. Even more so than most horror movies, Rabies is best seen without knowing too much in advance; let me just say that the title is metaphorical rather than literal, positing violence itself as an infectious disease, and that the full allegorical implications of the film (one could argue it would not be as effective had it been made anywhere but Israel) only gradually become clear as the scenario unfolds. An unusually creative employment of cross-cutting and some eardrum-bursting sound effects made my heart stop repeatedly during the 90 minute running time. Not for the faint of heart but horror fans should seek this out.

A Lonely Place to Die (Gilbey, UK)
Grade: C+ / 6.2

This low-budget but well-made British thriller begins like a horror film (mountain climbers accidentally stumble across a little girl imprisoned underground by unseen villains) before transitioning into an urban action movie revolving around a kidnap and ransom plot. Along the way there is some breathtaking scenery of the Scottish Highlands, a few tense, crisply edited set pieces and a commanding lead performance by Melissa George. As far as genre material goes, this lacks the originality (not to mention the bat-shit crazy quality) of something like Rabies and consequently isn’t as much fun. But as an exercise in suspense-building, it’s a solid piece of craftsmanship that marks its young director, Julian Gilbey, as someone to keep an eye on.

The Last Rites of Joe May (Maggio, USA)
Grade: C- / 5.1

The Last Rites of Joe May begins with the title character, an aging “short money” hustler, being released from hospital after a lengthy stay only to find that his landlord has rented his apartment to someone else. From there, Joe’s luck only gets worse as he is unable to find work or repair a broken relationship with his estranged son. Can he find redemption in the unlikely friendship he forges with a young single mother who is being abused by her scumbag cop-boyfriend? Writer/director Joe Maggio has cited influences as disparate as Umberto D and The Friends of Eddie Coyle and yet this mostly feels like an uninspired mash-up of more recent films like The Wrestler, Crazy Heart and Gran Torino. Dennis Farina, a great character actor who isn’t often given leading roles, and the Chicago locations both shine. They also deserve much better than the cliched story that envelops them.


CIFF 2011 – Twenty Two Most Wanted!

With the start of the Chicago International Film Festival only six weeks away, it’s time for my annual wish list of films I’d most like to see turn up there. This is a combination of movies that have generated buzz at other festivals throughout the year, movies by favorite directors whose production status I’ve been following in the press, recommendations from friends and even a title or two that may be nothing more than rumor. In alphabetical order:

Arirang (Kim, S. Korea)

South Korea’s Kim Ki-duk directed an astonishing 12 feature films between 2000 and 2008. The last of these, Breath, belatedly received its U.S. premiere at Facets Multimedia earlier this year and suggested that Kim’s wellspring of creativity had run dry, an impression seemingly verified by the 3 year silence that’s followed it. Arirang, Kim’s latest, is apparently a one man show/pseudo-documentary in which Kim himself examines this impasse a la 8 1/2. This premiered at Cannes where its supposed “navel gazing” quality drove many viewers up the wall. I say bring it on!

The Assassin (Hou, Taiwan)

When I put this on my wish list of films I hoped would turn up at CIFF last year it was nothing more than a pipe dream. Since then, Hou Hsiao-Hsien’s long rumored martial arts film actually did quietly begin production. Tadanobu Asano and Takeshi Kaneshiro have apparently joined a formidable cast that has long had Hou regulars Shu Qi and Chang Chen attached.

Bernie (Linklater, USA)

Richard Linklater has intriguingly described this as his version of Fargo – a quirky true crime tale set in his beloved native Texas. Jack Black (reuniting with Linklater for the first time since the excellent School of Rock), Shirley MacLaine and Matthew McConaughey star.

Carnage (Polanski, France/Germany)

Roman Polanski follows up his estimable The Ghost Writer with an adaptation of Yasmina Reza’s Tony award winning play about a long night of drinking and fighting between two married couples brought together after a playground fight between their children. Polanski’s talent for shooting in confined spaces and the sterling cast (Jodie Foster, Christoph Waltz, Kate Winslet and John C. Reilly) make this a mouth-watering prospect.

A Dangerous Method (Cronenberg, Germany/Canada)

David Cronenberg’s adaptation of Christopher Hampton’s play about the birth of psychoanalysis, which is depicted as stemming from an imagined rivalry between Carl Jung (Michael Fassbender) and Sigmund Freud (Viggo Mortensen). As someone who thinks Cronenberg’s recent Mortensen collaborations (A History of Violence, Eastern Promises) are his very best work, my expectations for this could not be higher.

The Day He Arrives (Hong, S. Korea)

Another character-driven Hong Sang-soo comedy/drama that premiered in Cannes’ Un Certain Regard sidebar where it was universally admired, begging the question of why it didn’t land in Official Competition. This one apparently deals with the relationship between a film professor and a film critic. Expect the usual witty merry-go-round of booze, sex and self-deceit.

The Devil’s Church (de Oliveira, Brazil/Portugal)

A year after working with CGI for the first time, the great Portugese director Manoel de Oliveira continues to stretch himself by travelling to Brazil to shoot his first film outside of Europe (and his 57th overall). The Devil’s Church is based on a Faustian-themed short story by Machado de Assis, widely considered Brazil’s greatest writer. Ricardo Trepa, Oliveira’s grandson and favorite leading man of late, stars. CIFF’s fondness for Oliveira makes this a good bet.

Faust (Sokurov, Germany/Russia)

Speaking of Faust . . . I’m on the fence about Russian miserabilist Aleksandr Sokurov whose films frequently astonish on a technical level but fail to stir the soul in the manner of his mentor Andrei Tarkovsky. But this Russian/German co-production looks promising – a new version of Faust with Fassbinder’s muse Hannah Schygulla in the Marguerite role.

The Girl with the Dragon Tattoo (Fincher, USA/Sweden)

English language remakes of recent foreign language films are almost always a bad idea but since the Hollywood version of The Girl with the Dragon Tattoo is directed by David Fincher, we can assume it will be an exception. At the very least, Fincher, whose best work has featured dark, twisty narratives involving serial killings, expert use of CGI and Boolean logic that seemingly puts this project in his wheelhouse, can be counted on to push the material in an interesting direction.

Goodbye (Rasoulof, Iran)

According to reports out of Cannes Iranian director Mohammad Rasoulof made this film under “semi-clandestine conditions” while awaiting sentencing following his highly publicized arrest and trial for “anti-regime propaganda” in 2010. Goodbye uses the story of the disbarment of a female lawyer to allegedly tackle the repression of Ahmadinejad’s Iran head-on.

The Grandmaster (Wong, Hong Kong)

This made my wish list last year and, knowing Wong Kar-Wai’s glacial pace of shooting and editing (and re-shooting and re-editing), it could also make the list again next year. A film about the early years of Ip Man, best known as Bruce Lee’s kung-fu teacher, “built around one of the most exciting sets and fighting sequences that I have ever seen” according to Fortissimo Films chairman Michael Werner who came on board as associate producer earlier this year.

Hara Kiri: Death of a Samurai (Miike, Japan)

Takashi Miike continues his recent trend of remaking chambara classics, this time in 3D, by taking a stab at Masaki Kobayashi’s Harakiri from 1962. But with Miike, you can always expect the unexpected, and this project boasts surprising collaborators like veteran art house producer Jeremy Thomas and A-list actor Koji Yakusho (the favorite leading man of Miike’s mentor Shohei Imamura and the star of Miike’s superb 13 Assassins).

Le Havre (Kaurismaki, Finland/France)

I’ve never really warmed to the deadpan humor of Finnish writer/director Aki Kaurismaki whose “minimalist” films have always struck me as less than meets the eye. His latest, a supposedly sentimental tale of immigration politics centered on a French shoeshiner and an African refugee, was by far the most critically admired film at the 2011 Cannes Film Festival. Color me interested.

Hugo (Scorsese, USA/France)

Martin Scorsese throws his hat into the 3D ring with this Johnny Depp/Jude Law-starring children’s film about a little boy who lives inside the walls of a Paris metro station in the 1930s. This will obviously receive a super-wide release; if it does turn up at CIFF it will be as a sneak preview “Gala Presentation” (hopefully with cast and/or crew present).

In the Qing Dynasty (Jia, China)

Another improbable but intriguing-sounding concoction is the latest from Jia Zhangke, the important, formidably arty chronicler of China’s tumultuous recent history, who appears to be making his first big budget film with this historical epic. Produced by none other than Hong Kong gangster movie specialist Johnnie To.

J. Edgar (Eastwood, USA)

Clint Eastwood’s critical stock is at the lowest its been in some time following his poorly received (but in my humble opinion misunderstood) melodramas Invictus and Hereafter. Stakes are therefore even higher than they otherwise would be for this J. Edgar Hoover biopic scripted by Dustin Lance Black and starring Leonardo di Caprio and Armie Hammer. As with Hugo Cabret, this will only make it in as a Gala Presentation (not out of the question since this happened with Hereafter last year). Sure to make my CIFF wish list next year is the prolific Eastwood’s next film – a remake of A Star is Born starring . . . Beyonce?

Life Without Principle (To, Hong Kong)

This began life as a project titled Death of a Hostage when it started shooting (without a script) in 2008. Three years later, it’s finally complete and it sounds like Johnnie To’s most exciting in some time: a bank heist thriller starring the charismatic, enormously talented Lau Ching-Wan; the last collaboration between these two, 2007’s ingenious Mad Detective, was one of my favorite films of the last decade. Will Life Without Principle stack up? Is the title a reference to Thoreau? Is the above movie poster the coolest ever?

Night Fishing (Park/Park, S. Korea)

Park Chan-wook, the reigning innovator of the South Korean New Wave, caused a stir on the festival circuit earlier this year with this 30 minute horror short shot entirely on an iphone. This alone would justify the purchase of a ticket to one of CIFF’s notoriously erratic “Shorts Programs.”

Once Upon a Time in Anatolia (Ceylan, Turkey)

Still photographer Nuri Bilge Ceylan made one of the great directorial debuts of the last decade with Distant, a deliberately paced, minimalist comedy about the growing estrangement between a professional photographer in Istanbul and his visiting country bumpkin cousin. If Ceylan’s subsequent films haven’t quite lived up to the promise of his debut, this film about a night in the life of a doctor living in the harsh title region (the gateway between Europe and Asia) should still be worth a look. Won the Grand Prix at Cannes.

A Separation (Farhadi, Iran)

Asghar Farhadi (Fireworks Wednesday, About Elly) is a CIFF veteran so one can only hope that this universally admired marital drama, which won three prizes in Berlin (including the Golden Bear), will turn up here – preferably as an in competition entry with multiple screenings.

This is Not a Film (Panahi/Mirtahmasb, Iran)

Like Mohammad Rasoulof, Jafar Panahi essentially made his latest film as a political prisoner in Iran. Co-directed by Mojtaba Mirtahmasb, this documentary-style “diary” about the great director’s inability to work was smuggled out of Iran on a USB stick buried inside of a cake. The more attention that’s brought to the tragic plight of Rasoulof and Panahi the better.

The Turin Horse (Tarr/Hranitzky, Hungary)

Hungary’s Bela Tarr took home the Best Director award in Berlin for this, his acclaimed final film. The premise is a fictionalized account of what happened to the horse Friedrich Nietzsche saw being whipped in Turin a month before the philosopher was diagnosed with the mental illness that left him bedridden for the rest of his life. Tarr himself has described this as his “most radical” work, a daunting claim from the uncompromising, austere maestro responsible for the seven and a half hour Satantango. I was fortunate to see Bela Tarr bring The Werckmeister Harmonies to CIFF in person in 2000. One can only hope he’ll see fit to do so again with this swan song.


An Iranian Cinema Primer, pt. 2

A continuation of my list of essential titles from Iran’s diverse and impressive national filmmaking scene. This part of the list encompasses movies released from 1997, when Abbas Kiarostami made history by becoming the first Iranian director to win the top prize at the Cannes Film Festial, through the present.

Taste of Cherry (Kiarostami, 1997)

Abbas Kiarostami deservedly won the Palm d’Or at Cannes for this great film about a middle-class, middle-aged man who traverses the Iranian countryside in a Range Rover trying to find someone who will assist him in committing suicide. Each of the three prospects he “interviews” for the job are far apart in age and profession (a young soldier, a middle-aged seminarian and an elderly taxidermist), a set-up that allows Kiarostami to offer a wide-ranging philosophical treatise on the meaning of life and death in the modern world. The film’s unexpected and controversial coda, shot on video and scored to Louis Armstrong’s “St. James Infirmary Blues,” is hauntingly, ineffably right.

The Wind Will Carry Us (Kiarostami, 1999)

Three men who may or may not be part of a documentary film crew travel from Tehran to a remote, rural village to observe the funeral of an elderly woman who is reportedly on her death-bed. Only the woman refuses to oblige them and doesn’t die, thus keeping the men stranded there indefinitely. This gorgeously shot, cosmic and comic vision of the conflict between different ways of life in contemporary Iran is in some ways director Kiarostami’s magnum opus. Indeed, he virtually turned his back on narrative filmmaking for a decade until triumphantly returning with Certified Copy in 2010.

The Circle (Panahi, 2000)

A quantum leap forward for director Jafar Panahi, best known previously for his acclaimed but lightweight The White Balloon, this tough-as-nails feminist film dramatizes the plight of various women (prison inmates, a prostitute, a pregnant woman who incurs the wrath of her in-laws by not giving birth to a boy) in a repressive, theocratic society. The film’s title refers to its overall structure, several key camera movements and the idea of misogyny as a vicious cycle. Unsurprisingly, this was banned in Iran but rightfully won acclaim practically everywhere else it played.

The Day I Became a Woman (Meshkini, 2000)

Marzieh Meshkini, Mohsen Makhmalbaf’s wife, wrote and directed this delightful trio of interconnected stories about female protagonists at different stages of life: a nine year old girl who is told she is now a “woman” and can no longer play with boys, a young woman who defies her domineering husband by participating in a bicycle race, and an elderly woman who unexpectedly inherits money and finds herself independent for the first time in her life. This unusually accomplished debut film is infused with a gentle, intoxicating surrealism.

20 Fingers (Akbari, 2004)

Mania Akbari, the talented actress who appeared in every scene of Kiarostami’s Ten, takes a page from the master’s book in crafting her first film as writer/director: seven vignettes in which the same actor (Bijan Daneshmand) and actress (Akbari) play a different couple facing a universal problem. Every segment is dramatically compelling and well acted but, as filmmaking, this shot-on-video feature is absolutely thrilling; practically every scene unfolds in a moving vehicle in a single long take and, one in particular (involving the characters interacting between a car and a motorcycle), is an astonishing piece of cinematic choreography.

Turtles Can Fly (Ghobadi, 2004)

A gut-wrenching and eye-opening drama about children living in a refugee camp in Kurdistan near the Iraq/Turkey border in the days leading up to “Gulf War 2.” Moments of lyrical beauty somewhat leaven the otherwise disturbing brew and the cast of non-professional child actors is indelible, especially Soran Ebrahim as “Satellite”. A bracing reminder of how innocent victims are the tragic byproduct of every war, Bahman Ghobadi’s third feature confirmed his place as Iran’s best young filmmaker.

Iron Island (Rasoulof, 2005)

Director Mohammad Rasoulof is most famous for being sentenced to six years in prison, along with Jafar Panahi, for allegedly planning to make a film that would have incited anti-government protests. As this fascinating and poetic movie proves, he is also a very talented filmmaker. The title refers to the central location – a rusted, abandoned oil tanker floating in the Persian Gulf that functions as a makeshift city for the film’s large cast of mostly Arab characters. This includes an idealistic schoolteacher, a pair of forbidden young lovers, a man who perpetually watches the horizon for nothing in particular and the Svengali-like “Captain” who presides over everyone. A potent portrait of an isolated, self-contained community, this deserves to be more widely known.

Half Moon (Ghobadi, 2006)

Bahman Ghobadi’s mesmerizing road movie about an elderly Kurdish pop star who travels from Iran to Iraqi Kurdistan to perform one final concert after the fall of Saddam Hussein. Accompanying him are a dozen of his “children” (in the Colossal Youth sense) on a rickety bus that encounters increasingly perilous obstacles along the way. What starts off as a comedy gradually darkens over an hour and a half until the film takes an unexpected left turn into the realm of the purely metaphorical in its haunting final act. The soundtrack of Kurdish music is phenomenal.

Offside (Panahi, 2006)

Jafar Panahi has become increasingly known as a political activist (both in movies and in life) but this incredible comedy reminds us how a great artist can skillfully and seamlessly integrate ideological points into the most entertaining stories imaginable. Since the Islamic Revolution, women have been banned from attending men’s sporting events. So what are a bunch of female soccer fans to do except disguise themselves as men and attempt to sneak into the local stadium? An ideal point of entry for anyone looking to understand Iranian cinema and culture, this hopeful and humane film is one of my favorites from any country in the past decade.

About Elly (Farhadi, 2009)

Like an Iranian L’avventura, this sure-handed, impeccably constructed chamber piece tells the story of a woman, the Elly of the title, who disappears while vacationing with a group of friends by the sea. The attempts her companions make to locate her exacerbates tensions that already exist between various members of the group, to the point where Elly’s fate becomes almost irrelevant in the grand scheme of the movie. A wonderful “psychological” journey that doesn’t seek only that which it can explain.

Bonus Track:

Untitled (For Jafar Panahi and Mohammad Rasoulof) (Anonymous Iranian Filmmaker, 2011)

Just as this list began with a short, so too does it end with a short – an experimental movie recently made by an anonymous Iranian director in protest of the unjust prison sentence (six years) and even lengthier filmmaking ban (20 years) handed down to Jafar Panahi and Mohammad Rasoulof for allegedly treasonous acts. Untitled uses visual quotes from the work of both directors, which are triumphantly repurposed into an allegorical rendering of the filmmakers’ arrest, incarceration and future release. A scene from Offside, in which the image of a girl walking down the street holding sparklers while throngs of people around her celebrate a victory by Iran’s national soccer team, is conceivably even more resoundingly triumphant here than in its original context. Viewable online courtesy of the good folks at Cine Foundation International:

Untitled (‘For Jafar Panahi & Mohammad Rasoulof’) – Protest Film by (anonymous) Iranian Filmmaker from Cine Foundation International on Vimeo.


Free Jafar Panahi and Mohammad Rasoulof

I was saddened and dismayed to learn today of the sentencing of directors Jafar Panahi and Mohammad Rasoulof to six years in prison for planning to make a documentary film that would have allegedly incited protests against the Iranian government.

Panahi made two of my favorite films of the past decade: The Circle (2000), a tough, feminist drama about a pregnant woman seeking an illegal abortion in a nameless Iranian city and Offside (2006), a wonderful comedy about female football fans dressing up as men in order to attend a live match at Tehran’s Azadi stadium. I cited both of them in one of the earliest posts I wrote at this blog: My Top 100 Films of the Decade.

I am unfamiliar with Mohammad Rasoulof’s work but his highly regarded 2002 film The Twilight is distributed on home video in the U.S. by Chicago’s Facets Multimedia. In protest of the sentencing, the Facets Cinematheque will be holding a free screening of Panahi’s The Circle on Sunday, January 16th. According to an e-mail I received, “Guest speakers will help provide context for Panahi’s long journey since his arrest and imprisonment earlier this year.”

If you admire Iranian cinema or are concerned about human rights in general, I strongly urge you to attend the Facets screening. If you cannot make it, please at least sign this online petition calling for the release of two filmmakers whose only crime was to begin pre-production on a movie: Panahi Petition.

Iran has a surprisingly long and rich cinematic history. I will try and post more about it early next year.


%d bloggers like this: