Sometimes all it takes is the right recommendation to set you on your path from newbie to know-it-all…Your next obsession: the urgent, authority-baiting films of Jafar PanahiHis celebrity, however, derives not so much from his films themselves – which, despite having been awarded numerous prizes at major festivals like Cannes, Berlin and Venice, have not gone on to achieve great box-office success – but from the unusually difficult circumstances of their making.His political activities, both as an artist and as a citizen, have repeatedly brought him into conflict with the authorities of the Islamic Republic, resulting in arrests, imprisonment, an ongoing prohibition of his travelling abroad, and a 20-year ban on writing and directing films – a ban that he has somehow succeeded in contravening by making no less than four features: This Is Not a Film (2011), Closed Curtain (2013), Taxi (2015) and 3 Faces (2018).Given the strict, censorious codes imposed on Iranian filmmaking, it’s inevitable that Panahi has frequently had to resort to metaphor, symbolism and suggestion rather than direct statement in order to mount a critique of the oppressive aspects of life under an authoritarian regime. I'm fed up with surreptitiously making everything in very confined spaces, and not having the freedom to work as I used to...It makes me feel sick thinking of all these projects I'd like to do, but I don't have the ability to make them. It's part of what my career has come to. I want you to put yourself in my shoes as a filmmaker who can't do anything else but make films, and doesn't want to do anything else. Jafar Panahi (Born 11 July 1960) is an Iranian film director, screenwriter, and film editor, commonly identified with the Iranian New Wave film movement.
"Jafar Panahi, alongside his mentor Abbas Kiarostami, is considered as one of the most remarkable figures of the second wave of Iranian new wave cinema. The second, meanwhile – which feels reminiscent of a whole host of Kiarostami films, including the so-called ‘Koker trilogy’ – finds Panahi and an actress friend driving through the remote villages of north-western Iran in search of a teenager who may have killed herself. To tell you the truth, at some point in my career I couldn't see myself doing a movie like ' Closed Curtain', something that delves into the imagination of an artist - but with a completely different language.
Shot in a semi-documentary style, the film makes its points with clarity and heartfelt passion – qualities that also inform Panahi’s earlier The intriguing narrative invention and the glimpses or mentions of aspects of Iranian life prohibited by the Iranian censors – prostitution, abortion, drug-taking, crime, and so forth – that we encounter in The Circle serve as a useful introduction to the abiding preoccupations to be found in Panahi’s finest work. They let me out of a small prison and released me to a much larger one.When I was in a small prison I knew there was nothing I could do there. If much of his output can be regarded as rooted in the neorealist tradition, it’s also, at times, clearly allegorical – sometimes a little bewilderingly so for those not steeped in Persian culture.At its best, however, Panahi’s work is urgent, powerful and peppered with a dry, mordant wit.Many of the best-known Iranian films can be described as ‘quest movies’, in which the completion of a task or fulfilment of an ambition is repeatedly thwarted by various obstacles or encounters. Member of the Jury of the Asia-Pacific Film Festival in 2007. I know this is what they want. It’s a tradition which goes back at least as far as Kiarostami’s 1974 film The Traveller (or even his 1970 short Bread and Alley) and which served as the model for Panahi’s acclaimed feature debut That movie is perhaps the easiest way into Panahi’s work, but far from typical in its deployment of a child’s perspective on the world. Directed by Jafar Panahi • 2018 • Iran Starring Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei. Panahi's colleague Mohammad Rasoulof was also sentenced to six years in prison.
Likewise, it was probably inevitable that any such critique, however subtly mounted, would result in many of his films being officially banned in his own country.From the start of his career, he has repeatedly dealt with what is and isn’t permissible or possible for ordinary people in Iran, be they the poor, children, women, war veterans, filmmakers or whatever.
By his calculations, Jafar Panahi and his fellow film-makers in Iran spend 80 per cent of their time involved in negotiations, only 20 per cent actually making films. Arrested on March 1, 2010 at his home along with Member of the Jury of Karlovy Vary International Film Festival in 2001, which also presented a retrospective of his films. (The region where the film was shot is where Panahi was born.
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