Gospel Isle – It is difficult to say whether the horn will pass with the first picture, but a filmmaker with a bright future will be seen. The debut feature “Hit the Road” directed by Panah Panahi, son of Zafar Panahi, hints at this.
From beginning to end, we have a street story ahead of us. A family of four, including parents and an older and younger brother, was traveling in a car, which we later learned was rented. The younger brother is very naughty and wise. Sadness and worry on your brother’s face. Your father’s leg seems to be broken, and your mother’s heart is broken even though she tries to stand up straight. As we improve, we realize that the family is going through the most difficult time in their lives.
Panah Panhi, who also wrote the screenplay, has made a movie that is like a flipping book. At the beginning of the movie, you might think that this story is a dream, a journey after death or a state of turmoil. It is also important to mention death frequently. In fact, we know from family experience that it is the sum of all of them. Because it’s about family separation. Together they bid farewell to the eldest son of the family. The film does not explain why the Tehran family is trying to smuggle their eldest son abroad. It can be assumed to be a political factor. Panahi’s main focus is to explain how family members are affected by this separation. He makes sure that the story is not dramatic. In the two sad moments of the story, it goes into the general plan. Humor is especially offensive to the younger brother and the father’s reaction to it. Also the cunning of the cyclist you meet on the road.
The relationship between mother and eldest son takes on an emotional dimension to the story. Panahi doesn’t try to focus her camera on a single character, but Pantia Panhihar’s successful mother claims a big place in the story; As well as the big boy … because the elements of curiosity are mostly based on them.
As the son of a filmmaker who was banned from making films in Iran and going abroad, and the brother of an older sister who left his country so that the incident would not be used as a threat, Panah Panahi brings novelty to Iranian cinema. His thick language. And a tip: in some scenes, you might think you’re watching a movie on a light bill.
Asgari vs. Farhadi
The most creative filmmakers in Iranian cinema are, in fact, making films with an opposite understanding.
Abbas Kiarostami, Muhsin Mahkamalbaf, Majid Majidi, Kafir Panahi … they are in master class on bringing Iranian cinema to its present day and influencing world cinema. Sometimes they have established a cinematic language based on children, which in its script gives precedence to the rhythm and perception of life over the story and of course they try to overcome these with the meaning associated with the symbol while fighting stress and restrictions.
Asghar Farhadi, on the other hand, has been familiar with Iranian cinema for over 10 years. He is accepted and admired in every status from Oscar to Golden Bear. Although allegations of theft have been made for his latest film “Hero” (which he denies), the language legend he created does not seem to be over. Farhadi created his own unique script math and it became his trademark. Farhadi’s powerful pen presents the character and events step by step as a puzzle. Each unlocked lock or disclosure secret becomes the key to the other. The characters he created make Farhadi’s language universal, not just in Iran, but in every society.
So, does everything seem as perfect? She doesn’t admit it, and her fans don’t like this approach, but the female characters in Farhadi movies are mostly problematic. My blunt finger doesn’t do it in your eyes, but it feels it. Although female characters are not explicitly portrayed as bad, they are a source of negativity. For example, the woman’s privacy in “About Eli”, the woman’s desire to divorce in “A Separation”, for example, the cause of bad things. Farhadi identifies men as victims and cares about the audience feeling sorry for them. She prefers to talk about the harm done by men rather than restricting the experience of women in Iranian society.
Farhadi also has an opponent of filmmaker Ali Asgari. Born in 1982, 10 years younger than Farhadir. He does not yet have a rich filmography like Farhadi, but he is also openly expressing his problems with his two films “Don’t Despair” and “Tomorrow”. “Missing” follows the young woman and her boyfriend, who have not stopped bleeding since their relationship, wandering from hospital to hospital. They are constantly facing moral and bureaucratic obstacles. “Until Tomorrow” centers on a day for a young woman who has a married child and hides it from her family. The young mother is trying to find someone to deliver her baby to for a day; This includes parents who do not take care of their children. In both of her films, Ali Asgari describes the difficulties of women’s free will in Iran without exacerbating the movement and tensions. Women are not the cause of hurting innocent men, but in her movies they are the victims of the hypocritical morality of society. Ali Asgari, who shows the audience that solving social problems is not the solution to the puzzle, is a powerful example of not wrestling illegally in the industry.