Premiering in the Directors’ Fortnight at Cannes, this impressively made and touching debut could probably have screened in the main competition — it demonstrates a skill and control of the medium that’s rare for a first film. At the very least, the Croisette bow will allowFrom the very first scene — a long sequence-shot inside a car stopped beside the highway in the Iranian countryside — it’s clear something special is happening.
Nothing is left to chance: Even the act of seizing a bratty kid’s phone will take on greater meaning later on, when we learn that the road trip is far more than a simple vacation, requiring the family to covertly arrive at the border in the north. Like the Iranian masters that preceded him, Panahi has a talent for leaving many things unsaid, allowing the viewer to draw their own conclusions about scenes that look natural but are filled with intent.
As they head into the mountains, the relationship between the father, a moody man who views the world with a mix of sagacity and cynicism, and the son, who’s desperately trying to take his future into his own hands, grows more tense, leading to a hushed confrontation that’s shot by cinematographer Amin Jafari in one long, beautiful take on a riverbank.
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