The smallest cell resistance against the Islamic regime in Iran is a taxi. It moves at a pretty nice day by Tehran. A friendly, no longer very young man with a slight tendency to stomach and relatively strong glasses sitting behind the wheel. It’s how it is everywhere in the world in each taxi. Yet not again.
people get in, people talking, people get out again. Of course you do not talk like that. And not just because you simply can not entertain in Iran so because everything you say is automatically politically. Once, as we drive around in the capital is still, we hear defend as a man the execution of human beings, is like a delicate woman had railed against it.
And then says one, that he had already seen through everything that all actors were that as entrances and exits, this game plays the man there who thankfully straight into the camera, by the we have seen it all, so adjusted, so that we can realize what is going on in the back seat. The cleverness Meier speaks the driver, he does it with conspiratorially, with “Mr. Panahi”. And ever since it is clear that the traveling in this taxi, first indeed is a gorgeous subversive act and secondly, quite dangerous. For pretty much everyone involved. Jafar Panahi may the fact really do not.
That is, taxi driving course already, as each was halted partway through university student, the times of a great career as a director dreaming, doing all over the world. Hang a film camera anywhere and shoot people who record what they say, that can not probably the most famous film director of Iran. That he is not allowed since 2010. Since 2010 and into next year, he was supposed to be in prison until 2030, it should actually turn any movies. Convicted, he is “for propaganda against the system”. He is allowed to sit in the taxi, because he is on probation, so to speak, more or less large. He may travel abroad again, of course not.
Movies rotate in spite of everything. He smuggles somehow from Iran. One was baked into a cake. One sees them their origin and their precariousness of always. They are documents of fear and freedom. And help all those who through the daily increasing throughput heating need rather thin clever blockbuster seriously think about, but better to be on the second chance education kindergarten, when deciding exactly make this career change. Cinema has relevance show Panahi’s films, movies can make powerful fear. Cinema has size. Panahi’s third film from the underground which is called “Taxi Tehran”, has managed to Berlin and the Berlinale .
Jafar Panahi is how the glorious end of this extremely dissolved tracking shot through the fears that threats that lack of freedom of Iran shows it course completely innocent. He had never wanted. That “Taxi Tehran” landed in the Berlinale Competition, was – in the end leads Panahi satirical ago – the result of higher criminal violence. Panahi’s film received the Golden Bear. And that is that you should here times between short and push the mullahs, which has obviously not fit to write on their caftans, not a political decision. No exclusive anyway. He is self-deprecating, he’s smart, he’s a trickster of a film.
“Taxi” smuggled a dozen people by Panahi taxi. Everyone leaves his story. A woman secures the mobile phone of her beloved husband. The had an accident with the scooter, has Panahi backseat fully bled and because he thought that he was going to die, his will speak on your mobile phone. The woman needs it because – you never know. Two older women want to bring their goldfish somewhere in a fountain. At least the fish should be free, because -. You never know
A man gets in, who runs a flourishing trade in pirated DVDs (and Panahi immediately recognizes). With him you get everything. Above all, of course, does not like the mullahs. A mercurial guy who almost manages to reconcile with a piracy. If it helps the counter-revolution.
A lawyer goes to jail, a flower she has this, the prison’s paradise. The woman who as stuck in paradise has just tightened their hunger by a thirst strike. Lange will perhaps no longer make. It is bad and evil. The sun is shining from the sky. The ringtone of the mobile phone is the theme song from the convicts epic “Papillon”. And then rises Panahi’s niece. And the film suggests a Kobolz. You sit there and get no longer the grin from his face. A frontal assault on the censorship laws (for those who have forgotten about the boring democratic culture debates, what is censorship: That’s when the top Kulturbestimmer say what may as occur in a movie, for example, and what is not, and if it should happen – must, as it happen) – a hunger strikers rather not, old women with goldfish already. From the mouth of a child. A double Rittberger of subversiveness. The mouths of known truth, what should Panahi do about it. The niece is to make a film that is. About everyday life in Tehran. And again, not really. Because – which tells the niece just like that – they have in class a whole rulebook get aufgebrummt, a set of rules of what they must not show. It sounds demonized in after the recent devilry of censors. How on earth could thus make a movie, the niece complained the great filmmaker’s uncle. A film that, as was the task of showing the reality, the truth.
For example, by putting a man with two cameras in a taxi , and actors can speak clandestine dialogues, which reflect the Iranian everyday. To reflect that any thing can happen, knowing all the communication and the mullahs are disgraced. The is so funny and nasty, so wise and great as “Taxi Tehran”
One can -. That said all that my now, after nuclear deal will all better with Iran – to do with this principle antidemocratic regime no shops, while Jafar Panahi (we take it now even as he understands himself as a pars pro toto for the entire suppressed artistry in Iran) not in freedom must make films. While we love to sit in front of grandiose documents of subversion. Almost rather had us – even if we shoot ourselves in the foot with it a little -. Though less grandiose films by directors in freedom
+++ ++ A witty and wise documentary about freedom full Subversion
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