This Is Not a Film Page #4

Synopsis: It's been months since Jafar Panahi, stuck in jail, has been awaiting a verdict by the appeals court. By depicting a day in his life, Panahi and Mojtaba Mirtahmasb try to portray the deprivations looming in contemporary Iranian cinema.
Genre: Documentary
Director(s): Mojtaba Mirtahmasb, Jafar Panahi
Actors: Jafar Panahi, Igi, Mrs. Gheirat, Mojtaba Mirtahmasb
Production: Palisades Tartan
  9 wins & 14 nominations.
 
IMDB:
7.5
Metacritic:
90
Rotten Tomatoes:
98%
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NOT RATED
Year:
2011
75 min
$63,144
Website
77 Views

that lead to the girl's room.

Here's the living room

that l talked about.

Here's the entrance to the house

that we're going to need.

ln my last five films,

events have always taken, place

out on the streets

and, due to limitations that exist

concerning the veil for actresses,

l have never shot inside homes.

Then l submitted a screenplay

titled ''Return'' to the Ministry,

but they didn't grant permissin

for making.

l pursued that for a couple of years.

''Return'' was about

the last day of the (lran-lraq) war,

based on a short story

by a writer who had himself spent

the whole duration of the war

in the war zone.

lran has finally accepted

the resolution to end the war.

And the soldiers are returning

to their hometowns.

Now there aren't enough vehicles

for them to return.

Eventually, some of the soldiers

lie on railroad tracks

and force a train to stop,

so they can get on.

lt is only after they get on the train

that we begin to see

the problems of war.

Well, after they didn't grant

permissin to make,

l started thinking what to do.

l sketched out other subjects,

and they all took place

in single locations.

Then l decided

to use the interior as location.

My next screenplay titled ''Sea'' took place

inside a holiday home by the sea.

There were only 3 or 4 characters,

so that it could be made

inside the home...

in case they didn't grant

permissin to make.

Unfortunately, that didn't work either.

My next film was being made together

with Mr. Rasoulof...

inside this house

and we had shot 30% of the film...

when all of a sudden

they stormed in and took us away...

with all the footage,

and the problems started.

Let's put that aside.

Opening shot.

Here's our frame...

showing the alley.

There's a boy standing at the far end.

An old woman turns into the alley

and walks up to the middle of the alley.

The boy comes to help her

with a heavy load she's carrying.

They pass underneath our frame

as we continue to see the alley

through a fixed shot.

We hear the door bell ring,

and after a moment the boy returns.

The old woman enters the house

comes up the stairs,

opens this door and enters the room.

She sees that the girl is sleeping.

We can tell all this from the sounds.

''Hi Granny.

Did you get me the mobile SIM card?''

Not in this tone, of course.

We should be able to tell

she's just woken up

and she's a little sleepy.

''Your father told me not to buy you one.

Did you tell him?''

''What do you think?

l shouldn't have?''

''Oh, granny!''

We hear the old woman...

''Get up, get up.''

The old woman whines

about her physical weakness,

and says that she's unable

to visit her every day.

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Jafar Panahi

Jafar Panahi (Persian: جعفر پناهی‎; born 11 July 1960) is an Iranian film director, screenwriter, and film editor, commonly identified with the Iranian New Wave film movement. After several years of making short films and working as an assistant director for fellow Iranian film-maker Abbas Kiarostami, Panahi achieved international recognition with his feature film debut, The White Balloon (1995). The film won the Caméra d'Or at the 1995 Cannes Film Festival, the first major award won by an Iranian film at Cannes. Panahi was quickly recognized as one of the most influential film-makers in Iran. Although his films were often banned in his own country, he continued to receive international acclaim from film theorists and critics and won numerous awards, including the Golden Leopard at the Locarno International Film Festival for The Mirror (1997), the Golden Lion at the Venice Film Festival for The Circle (2000), and the Silver Bear at the Berlin Film Festival for Offside (2006). His films are known for their humanistic perspective on life in Iran, often focusing on the hardships of children, the impoverished, and women. Hamid Dabashi has written, "Panahi does not do as he is told — in fact he has made a successful career in not doing as he is told."After several years of conflict with the Iranian government over the content of his films (including several short-term arrests), Panahi was arrested in March 2010 along with his wife, daughter, and 15 friends and later charged with propaganda against the Iranian government. Despite support from filmmakers, film organizations, and human rights organizations from around the world, in December 2010 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. While awaiting the result of an appeal he made This Is Not a Film (2011), a documentary feature in the form of a video diary 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. In February 2013 the 63rd Berlin International Film Festival showed Closed Curtain (Pardé) by Panahi and Kambuzia Partovi in competition; Panahi won the Silver Bear for Best Script. Panahi's new film Taxi premiered in competition at the 65th Berlin International Film Festival in February 2015 and won Golden Bear, the prize awarded for the best film in the festival. In 2018 he won the Cannes film festival Award for Best Screenplay (tied) for 3 Faces; although he wasn't able to leave the country to attend the festival, his daughter, Solmaz Panahi, read his statement on behalf of him and received the award. more…

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Submitted on August 05, 2018

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