, Panahi once again stars as himself, this time venturing outside of his flat to drive a taxi around the streets of Tehran, picking up various larger-than-life passengers played by non-professional actors.which becomes in this film a kind of folk art, a warm, slice-of-life snapshot told not just about but through Iran’s people.
, with Panahi inhabiting not just the persona of a taxi driver, but also that of Jafar Panahi the director, adored by a pirate video salesman who rides shotgun and amusingly ignored by two elderly ladies clutching a goldfish in the back. It is a film about the illusion of control that cinema can attempt to impose on an unruly, chaotic world. Filmmaking,reminds us, is a simultaneously authentic and inauthentic process: it can summon magic from the mundane, and disguise magic as mundanity.
During the film’s press conference at the Venice Film Festival, one of the film’s stars, Reza Heydari, replied to a question about why Panahi receives more persecution from the state than other politically minded Iranian directors. The answer, Heydari responded simply, is in the film itself.
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