ironhorse_iv
This Iranian documentary directed by Jafar Panahi & Mojtaba Mirtahmasb has a very interesting & complex, backstory behind it. After several years of conflict with the Iranian government over the content of his films, the government arrested Jafar Panahi in March 2010, with charges of propaganda against the Iranian government when they find out that Jafar Panahi was trying to make a documentary about the Green Movement protesters. Despite support from filmmakers, film organizations, and human rights organizations from around the world, in December of that year, Panahi was sentenced to a six-year jail sentence and a 20-year ban on directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media, or from leaving the country except for medical treatment or making the Hajj pilgrimage. After a short jail time, he was released from prison, and order by the courts, to stay in his house for the rest of his sentence. While awaiting the result of an appeal of his house arrest, he secretly made, this 2011 documentary, 'This Is Not a Film', showing the troubles, he been having, since being sentence with house arrest in the form of a video diary. He did all this in spite of the legal ramifications of his arrest. It was smuggled out of Iran in a flash drive hidden inside a cake and shown at the 2011 Cannes Film Festival. I'm deeply surprise that this movie even got shown in the Cannes Film Festival in 2011. I'm more astonish, that Jafar Panahi got away with it, and didn't get into much trouble for pulling that stunt. You would think, that they would put him, back into jail. I guess, the Iranian government didn't want to drag this, issue out any longer, because it was making them, look bad, in the eyes of the Western World. By the early 2010's, the harsh antics of then-President Mahmoud Ahmadinejad was dying down, and Iran was looking for reform with civil rights charter Hassan Rouhani, in hope to restore the economy of Iran and improve rocky relations with Western nations. They didn't want, the Jafar Panahi issue to be overblown, so instead of more punishment, Jafar Panahi been allowed to move more freedom. While, Panahi is still banned from making films, he still somewhat able to get his films made. In 2013 & 2015, he got two films made with the help of his family members & friends. It's clear, that the government isn't enforcing this unwritten law. For safety reasons, in this film, Mojtaba Mirtahmasb did much of the filming. Since, it had to be made quickly, the movie doesn't no linear narrative, no talking heads and no interviews. It doesn't even much of anything of a story. For any viewer that isn't familiar to what Panahi is going, trough. This documentary makes a hard-watch. After all, it just shows Panahi doing mundane stuff with his pet, Iguana. It might be too boring. For any viewers, that know a little amount of Panahi. It looks like a masterpiece, because it shows how bored and desperate, Panahi has been since this verdict may mean his artistic death. For me, it was alright for the most part. I was always curious about, his previous films and how people can live, under a harsh totalitarianism government. I think the best thing about the film is showcasing the ancient Iranian festival of Chaharshanbe Suri that precedes the Persian New Year and how young people are rebelling, by shooting outlawed fireworks. I never heard of the holiday, before seeing this film. My least favorite part is the chat with the trash collector. It was way too claustrophobic, unclear and hand-on for me. The only thing, I can nitpick, is how the film, could have service the people, of Iran, a lot more, instead of himself. Don't get me wrong, I love that this film is a good example of an open letter for free expression in Iran, but it's a far cry, from anything he done, before it. His style of neorealism within the Iranian New Wave film movement is memorable. The way he mix real time events with storytelling is rich in poetry and painterly images. Sadly, this movie doesn't show, any of that. It's a noble venture, but it felt like a selfish self-promotion, for Panahi. He talks more about his previous movies and his problems, more than anything else in the film. While, his action to film, himself is brave; it felt like, it's not that strong of a statement. His punishment isn't that harsh, compare to other people, who did far, little, against the government. He doesn't rant in the film about the cruelty of the government or how other people got it worst. It felt like a 'look, at what they are doing to me, please solve it' vanity project, than anything else. This is so unlike, his previous works, which gave a voice to the voiceless. Overall: Portraying a normal typical day of his life isn't as strong, as showing how other people freedoms are being trampled on. It's still a must-watch, but the movie could had better.
bob the moo
This film was roundly praised by the filmmaking community and stories of it being smuggled out of Iran in a cake certainly helped to raise awareness of the fate of Jafar Panahi. Unlike some, I shall not pretend to be knowledgeable enough to have heard of him before this film, nor to be a fan of his work (!) as others were keen to point out – for me this was a learning experience as I never heard of him. As such the film was interesting in how it informed me about the situation and the bigger picture. However it did this by simply existing – before I'd even watched a second of it, so what would the actual film bring to the table?Well, the main thing is to illustrate the restraint of creativity by having Panahi "story-board" some of his existing script and also talk about some moments from his previous films. These moments are pretty engaging because he has a passion and he has a vision that comes over in these scenes. Other scenes add to his story and add value in this way, however too much of the film just illustrates his time in his house – and his time stuck in the house is dull; dull for him and dull for us. In a way it is good to share this, but it doesn't engage the audience and by shooting whatever is said or happens, then it feels like there is no goal or structure to the film.I can understand the logic and, as others have said, this is non-violent protest; Panahi has the chance to violently lash out with either direct verbal attacks or with snipe commentary and presentation, but he doesn't do this – instead he peacefully sits down in front of the camera and makes this non-film as a peaceful protest against the situation, not hurting anyone. However this passive approach doesn't engage and it is increasingly dull as it has less and less to say. I know the film was beloved of festivals and lovers of cinema and I would love to claim beauty and emotion and be able to present myself a certain way, but this was not the case for me. The value in the film is not enough for the length and I was bored of it outside of the few sections I describe. I am very glad the film exists – very glad indeed, but watching it is a very different matter.
octopusluke
This Is Not A Film comes to audiences already with a high level of notoriety. The famous film behind "cakegate", it's constricted production meant that the film was distributed out of Iran on a USB stick concealed inside a birthday cake. It's the kind of screwball scenario you might find on a Judd Apatow movie, but This Is Not A Film is no laughing matter. As the title would assume, this is not so much of a film as it is a film exorcism.Whilst under house arrest, and pursuing an appeal against a six year prison sentence and 20 year ban from directing, esteemed Iranian auteur Jafar Panahi (The Mirror, Crimson Gold) invites fellow filmmaker Mojtaba Mirtahmasb into his home to crudely document a day in his tormented life.Shot on a digicam and later an iPhone, we follow Panahi shuffling around his apartment, feeding his daughter's pet iguana, paying the delivery boy for takeaway food, and calling his tenacious attorney trying to get him out of house arrest. At first, it's a minor study of segregation and loneliness, but This Is Not a Film is at it's most enthralling when Panahi expresses his natural directing flare; acting out his latest screenplay from the (dis)comfort of his family living room, discussing camera angles to the most minute detail, and reflecting on how he managed to reach such a raw level of intimacy in his previous works. Whether you are aware of his filmography or not, it's clear that Panahi is an exuberant cinephile, which makes his current, and ongoing battles with the government even more distressing.If you were forced to judge this meta-commentary diatribe, one could suggest that Panahi and Mirtahmasb fail to present a bigger picture on the crisis of the state's dominance over artistic intent. Similarly to 2006′s female equality drama Offside, This is Not a Film is incredibly subtle with it's political allegories, bordering on the coyly parabolic. Instead of presenting a bigger, ultimately more controversial picture on the crisis of state dominance in the creative industries, Panahi and Mirtahmasb reach a palpable level of verisimilitude in the very smallness of the situation. It all comes together in a final twenty minute sequence where Panahi falls behind the camera and back into storyteller mode (it could cost him his life, but he can't help it). He follows a young dustman around the apartment block and asking him what his plans for the future will be. The cordial apprentice is unsure, but it's hopefully going to be a life less frightening than the one Panahi has been dealt.This Is Not A Film concludes with harrowing sentiment. With the sound of New Years' Eve fireworks and cheering in the background, the screen fades to black, with the credits and special thanks nods are left blank, followed by a final frame that sets out a humble dedication to all Iranian filmmakers. It may be a non-film but, whatever it is, it's certainly a riveting watch; and has rightly earned a place in the Oscars' documentary award shortlist.Here in the Western world, our access to information, democratic governments and human rights mean that cinema is taken for granted, and filmmakers have it easy. Whilst we bemoan the extortionate prices of popcorn, Panahi and Mirtahmasb are putting their lives on the line to tell the stories they feel they must tell, in the hope that, one day, their nation will be able to have the same sort of pro-democratic freedom as the rest of us.www.366movies.com
