This Is Not a Film Page #5

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
Production: Palisades Tartan
  9 wins & 14 nominations.
 
IMDB:
7.5
Metacritic:
90
Rotten Tomatoes:
98%
NOT RATED
Year:
2011
75 min
$63,144
Website
84 Views


And we learn that she's alone at home

no one other

than the old woman visits her

and that she is in fact

the girl's paternal grandmother.

The old woman gives the girl

her last words and talks of the boy

and says that he is a nice boy.

She says that

she thinks the boy might in fact

be the next-door girl's suitor.

Once again the old woman

gives the girl her last word,

and says that

she won't visit the girl for a week.

We hear her footsteps

as she goes back

the way she had come in.

We hear the door

open to the alley and...

and through this same frame...

we see the old woman.

As we hear the door

we also see the boy

leave his standing position

at the top of the alley.

The old woman

who has entered the frame...

walks to the end of the alley

and turns right.

After a moment

the boy takes up his position again.

and stares at this window.

This was the opening shot.

Second shot

take this place to be the bathroom,

and the camera

is behind the bathroom door.

We hear the usual sounds

from inside the bathroom.

Then the door opens

and for the first time

we see the girl

who has a shaven head.

She goes to the bed,

and sits on the edge of the bed.

And the bed is here

as we said before.

Then she lies on the bed

for a moment

and touches her face.

The phone rings.

She goes toward the phone,

which is located here.

Suppose this is the phone on the table.

She answers the phone,

but no one talks.

She slams the receiver to the floor.

She throws herself on the bed...

and as her face is buried

in the mattress, she cries.

After a while

she turns and stares at the ceiling

for a few moments.

There is a strong rope

hanging from the ceiling.

The camera tilts down

There is a chair right here.

The girl is sitting on the chair and...

stares intently,

as if deciding to do the last thing...

that she must do

before committing suicide.

ln the previous shot,

when no one answered the phone,

she had slammed

the phone to the ground

and it was shattered

with its pieces all over the floor.

Now she is looking

at the phone in pieces.

Next shot. Cut.

The handset that she slammed

is in pieces here.

This shot is in fact

the P.O.V. of the girl.

She starts putting together

the pieces when...

the phone suddenly rings.

She mechanically puts

the handset to her ear.

''Hello?''

She hears the ringing again.

She goes toward the base...

and pushes...

What is it?

Why don't you continue?

ln a moment...

We hear the end-of-call tone.

Maryam thinks for a moment.

Although she is upset...

If we could tell a film

then why make a film?

- Hello, sir.

- Hello.

- Here you are.

- Thank you.

How much is that?

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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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