Fish & Cat (Shahram Mokri, 2013)

MAHI VA GORBEH [Fish & Cat]
Director: Shahram Mokri
Reviewed by Kiomars Vejdani

The first thing we notice about Mahi va Gorbeh is the technical challenge Shahram Mokri has taken on board. The film is shot uninterruptedly from start to finish in one long take. But film’s technical excellence is only a doorway to a dark and ambiguous world. By passing through this doorway we face a labyrinth with multitude of questions awaiting us at every corner. Within a single shot of the film we encounter numerous characters, all crammed in a limited space, their life stories cutting across each other to make a complex pattern.

Our first point of contact with the film is a crime story. Right at the beginning of the film we are informed that it is based on a true event of horrible crimes committed by owners of a restaurant in northern Iran. But despite such information, there is no visual sign of any crime within the film. It is totally free of physical violence. Mokri seems not in the least interested in crime story. His approach to film’s subject is purely philosophical. Any referral to a committed crime is indirect and nothing more than a hint like the vague cry of anguish and agony we hear from far away, or the machete Babak takes with him before going into the woods and the blood stained foul smelling bag he carries along. Any intention of crime by Babak is only implied by his way of interaction with his potential victims, either a threatening manner (like his encounter with the driver at the beginning of the film), or a cunning approach (the way he lured Parvaneh into the depth of the woods). The nearest we get to witnessing any evidence of crime is the scene of the cat holding a cut off finger in his mouth. But again instead of visually presenting such an image it is described by Mina and we only have her horrified reaction as she stares straight at us. The subjective viewpoint of camera is enough to convey her horror.

Architecture as Character

http://cinearchitecture.tumblr.com/post/131611804372/art-directed-by-ralph-berger-and-albert-s

The Program (Stephen Frears, 2015)

THE PROGRAM
Director: Stephen Frears; UK/France, 2015
Reviewed by Kiomars Vejdani

Stephen Frears' film about Lance Armstrong is dealing with not so much his sporting life but more so his personality. While film acknowledges his sporting talent as a cyclist and his courageous comeback after cancer, he puts more emphasis on his character flaws. He is selfish, excessively ambitious, obsessed with winning Tour de France. He uses any means to achieve his goal including unethical and illegal ones such as collaboration with doctor of dubious character and unprofessional conduct, clandestine use of illegal drugs. His activities move him gradually further away from true spirit of sport. The unethical aspect of Armstrong's activities are presented through the character of David Walsh, a sport journalist who stands up to him and makes his activities publicly known. As a result Armstrong loses all his awards.

Carol (Todd Haynes, 2015)

CAROL
Director: Todd Haynes; USA/UK, 2015
Reviewed by Kiomars Vejdani

In Todd Haynes' new film, like his Far From Heaven, the influence of Douglas Sirk is very much noticeable. Carol is a romantic melodrama about a relationship condemned and forbidden by the morality rules of the time (mid fifties, Haynes, favourite era) Carol (Cate Blanchett) is a rich woman from the upper class and a homosexual. She is attracted towards Therese (Rooney Mara)
a young photographer who is equally in love with her. Their relationship remains purely emotional for quite a while before reaching physical level. But there are many moral and social barriers in the way of their love, the most prominent one Carol's husband, a jealous and possessive man who nevertheless is desperately in love with Carol, frustrated by her loving someone else and angry about her homosexuality and its stigma. Only the courage of two women enables them to overcome the obstacles in the way of their love. The last moment of the film with alternate close ups of two women keep looking at each other is its highest romantic moment. Essential to film's romantic mood is the excellent performances by Cate Blanchett and Rooney Mara (Winner of Best Actress Award in this year's Cannes Film Festival).

Suffragette (Sarah Gavron, 2015)

SUFFRAGETTE
Director: Sarah Gavron; UK, 2015
Reviewed by Kiomars Vejdani

Meant to be one of the prestigious productions of the year, the film is about women's fight for the right to vote in England 1917, as inspired and led by the activist group Suffragetes. The film uses the experience of its protagonist (an ordinary housewife played by Carey Mulligan) to depict the development of the movement. From the condition of women with hard manual work and low wages in a male dominated world to gradual emergence of social awareness and reacting to the injustice of social discrimination, initially peaceful protest but later on defiant acts of sabotage, harsh treatment by the police to suppress the movement, sacrifices of losing job and family, and eventually recognition through one of the members sacrificing her life. Director Sarah Gavron gives a powerful drama based on her own feminist conviction and belief in the rights of women.

Francofonia (Alexander Sokurov, 2015)

FRANCOFONIA
Director: Alexander Sokurov; France/Germany/Netherlands, 2015
Reviewed by Kiomars Vejdani

The story of Louvre told the way only Alexander Sukorov can tell with a style as unique and distinguished as ever. Similarity of its visual treatment to Russian Arc (except its continuous take) is very noticeable. Like the previous film it takes us on a journey through time. From historical origin of Louvre and building of the castle in its initial form through different stages of its development with added structures, right up to its present day state. In his presentation of Louvre Sokurov's main emphasis is on its role in preservation of cultural and artistic heritage of France as the foundation of civilization. In developing his theme Sokurov resorts to any device. He takes us back and forth in time, moves between reality and fantasy. He uses any visual element at his disposal: archive material, dramatic re-enactment, and animation. He brings characters from history back to life. He jokes with them (Napoleon in particular is object of his fun), and in the end tells them their future. Accompanying the images we have Sokurov's continuous informative, and at times sarcastic commentary. Francofonia is more than a documentary. It is a document on necessity of having something of lasting values in the imperfect world of mankind.

El botón de nácar (Patricio Guzmán, 2015)

PEARL BUTTON
Director: Patricio Guzmán; France/Chile/Spain, 2015
Reviewed by Kiomars Vejdani

Patricio Guzmán in his new film uses the same format as Nostalgia for the Light, starting with exploration of nature by science and ending up with investigation of crimes committed by the dictatorial regime of Pinochet in Chile. In the previous film he used astronomy to explore stars in the universe and archaeology to find about early history of mankind in the sands of Atacama desert. But in his new film the object of his scientific exploration is water. It is argued that water is not only the source of life and its creation, but also the agent of its transfer between planets. The existence of water (and hence life) on other planets has been explored by scientific methods. On planet earth people at ancient times used water to move to new areas, settle and build their homes. They enjoyed a peaceful and happy life until Europeans arrived and a chain of exploitation and atrocity in countries like Chile began with criminal acts of previous dictatorial regime as its last link. Throughout the film Guzmán's running commentary is delivered in measured pace to accompany his poetic images. Presentation of atrocities in this film is not as elaborate as in Nostalgia for the Light, nevertheless it is equally powerful, specially in the section about throwing bodies attached to pieces of heavy metal from the aeroplane into the ocean to conceal evidences of their crimes. We see one of these pieces of metal brought back from the bottom of the sea by the divers. The human body is completely dissolved by the salt water of the ocean over the years. The only thing left of it is a pearl button implanted into the metal. The whole history of criminal acts of dictatorial regime is encapsulated in this tiny button.

Il Cinema Ritrovato 2012, Part I

photo by Ehsan Khoshbakht

گزارش جشنوارۀ Il Cinema Ritrovato، بولونيا، ايتاليا، 23 تا 30 ژوئن 2012

والش و گِرِميون، زير آفتاب سوزان

احسان خوش‌بخت

به اندرو ساريس

1 فرود

وقتي روي اولين پلۀ هواپيمايي كه بعد از يك ساعت و نيم گذر از آسمان آلمان و بلژيك در فرودگاه بولونيا در شمال ايتاليا آرام گرفته بود پاگذاشتم، موج گرما يخِ شبِ سردِ پيشين در فرودگاه استنستد لندن را آب كرد. آفتاب با وقار بولونيا به تابستانِ خاكستري جزيرۀ بريتانيا دهن كجي مي‌كرد و شعاع‌هاي درخشان نور روي ديوارهاي نارنجي و قهوه‌اي روشن و مردم بي‌خيال در شلوارك‌ها و عينك‌هاي آفتابي كه براي رسيدن به هركجا كه عازمش بودند كوچك‌ترين شتابي نداشتند، مرز بين اروپاي سرد پروتستان و معجزۀ حرارت مديترانه‌اي و فراغ خاطر كاتوليك‌هاي جنوب اروپا را پررنگ مي‌كرد. وقتي جرج سَندرز در سفر در ايتاليا نظرش دربارۀ اين سرزمين به اينگريد برگمن مي‌گويد («مردم پرسروصدا و تنبل»)، اظهار نظرش بيش‌تر نوعي حسادت نسبت به فرهنگي كه جاي سرسام را به آرامش و جاي ادب قراردادي را به سرخوشي داده به نظر مي‌رسد.

در حين حركت به طرف اتوبوسي كه به مركز شهر مي‌رفت لازم بود كه كم‌كم لباس‌هاي اضافي را به دل چمداني كه چرخ‌هايش از ديشب چند كيلومتري روي زمين به اين ور و آن ور كشيده شده بود بفرستم. اتوبوس از ايستگاه بيرون نيامده همشهري‌هاي مسن بولونيايي همديگر را پيدا مي‌كردند و به گرمي مشغول چاق سلامتي مي‌شدند. انگليسي‌هاي مسافر گيج و بهت زده به نظر مي‌آمدند و ژاپني‌ها دوربين‌هاي گران قيمت و لنزهاي غول‌آسايشان را از چمدان بيرون مي‌كشيدند. چه كسي مي‌تواند زير اين آفتاب خيره‌كننده كه انگار از چهار جهت روي سرت مي‌تابد عكس بگيرد؟ از چه عكس بگيرد؟ از ذوب شدن تدريجي فضا در آفتاب؟

LFF 2015: First Feature Competition#2

Light Years

Reviews of the First Feature Competition at London Film Festival, Part II
By Kiomars Vejdani

LIGHT YEARS
Director: Esther May Campbell; UK, 2015

The film is from the collective point of view three children whose lives are affected by a dysfunctional father and a mostly absent mother due to mental illness. The impression they have of their parents is like a star light years away which even though can be seen by us might not exist any more. we see the fragmented lives of these children running parallel to each other with the hope of one day family being reunited.

PARTISAN
Director: Ariel Kleiman; Austria, 2014

The film revolves around the enigmatic character of Gregori (played by Vincent Cassel), the leader of a hideaway community of women and their children. He is protective of people under his care, providing them with food and amenities of life. But at the same time he acts like a dictator establishing arbitrary rules, very often illogical, at times immoral and even illegal. Anyone disobeying him will be banished from the community. His character is a mixture of saint and sinner. The double nature of his character is the basis for film's moral ambiguity. Our doubts about Gregori's character and his morality is personified by Alexander, an eleven year boy, who initially see him as a hero but gradually begins to see the other side of his character. The film ends at the moment of Alexander's indecision about the action to take against Gregori, leaving the audience in a moral limbo.

WEDDING DOLL
Director: Nitzan Gilady; Israel, 2015

The film has a mentally handicapped young girl as its protagonist. She can not survive without the support of her mother. She can cope with a simple manual job in a workshop. Her only talent is making wedding dolls. The plot revolves around her romantic fantasy about a young man who by emotionally exploiting her encourages the fantasy. Her ultimate dream is marrying the man which ends up in a bitter disillusionment at the climax of the film. The film's simple technique matches the purity and innocence of its main character.

KRISHA
Director: Trey Edward Shults; USA, 2015

A family drama about reunion of film's title protagonist with her her family. A complicated character with a range of emotional problems, Krisha is trying to re-establish rapport with her family after a long period of absence. But her excessive demand for love, both giving and receiving, proves to be counter-productive, causing rejection by members of the family. The film's tension builds up as the hostility of others escalates and becomes more direct ending up in the film's climax of a stormy scene. A powerful drama with an excellent performance by Krisha Fairchild in the title role.

LFF 2015: First Feature Competition#1

3000 Nights

Reviews of the First Feature Competition at London Film Festival
By Kiomars Vejdani 


3000 NIGHTS
Director: Mai Masri; Palestine/France/Lebanon/UAE/Qatar, 2015

The film tells the story of a woman who for helping a young man on the run was charged with terrorism and spent eight years in an Israeli prison. Director Mai Masri with her background as a documentary film-maker has created a realistic, textured film with attention to details of environment and characters. Her powerful drama is based on clashes between Israeli and Arab women in the prison (at times amounting to violence), and cruelty inflicted on prisoners by a ruthless wardens (including torture). The horrifying atmosphere of prison well reflects the politically unstable situation in that part of the world where suspicion and hatred are the dominating sentiments.

LAMB
Director: Yared Zeleke; France/Ethiopia/Germany/Norway, 2015

The film is about loving relationship between a small boy and his lamb. The purity of his love is in sharp contrast with harsh attitude of adults who have to deal with realities of life. The boy's love represents innocence of childhood (his minor immoral acts such as petty thefts is carried out in all innocence to save his lamb), but eventually he realizes that a time will come to let his lamb go. Set in unspoiled landscape of Ethiopian mountainside, film tells its story with a simple technique to match the sentiment of is content.

THE WAIT
Director: Piero Messina; Italy, 2015

It is a study in bereavement and loss of loved ones. A mother who has lost her son find herself unable to break the news to her son's girlfriend, waiting for the right moment to do so. The film explores details of woman's grief from denial to acceptance. A suitable vehicle for Julitte Binoche who is expert in portraying women tormented by their emotions.

THE WITCH
Director: Robert Eggers; USA/Canada, 2015

In 17th century New England a devout Christian family living in a farm at the edge of the forest experience strange phenomena which they suspect is due to supernatural powers and work of devil. As the film progresses they gradually begin to suspect their teenage daughter to be a witch. The film's dramatic tension builds up as clashes between members of the family escalates to the histrionic level (similar to the case of Salem witches) ending in the climax of revelation. The film generates an undercurrent of horror in a Gothic atmosphere conveying the existence of evil force. In the final scene film shows the witch as the embodiment of our subconscious desires. Her victory and celebration conveys defeat of Christian faith in the hands of a more powerful enemy.