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Film director Jafar Panahi is prohibited from leaving Iran, but is trying to make a film in neighbouring Turkey. In order to make that work, he moves to a remote village near the border, where the communications are a bit hit and miss. With the help of his obliging host "Ghanbar" (Vahid Mobaseri), though, he tries to make the best of it. Initially, it's a friendly village but when he takes (or doesn't!) a photograph of a young couple, he finds himself drawn into an increasingly acrid stand-off between two young men, and their families, to whom a girl may have been betrothed when her umbilical cord was cut. His frustrations with these encroachments are not helped by production difficulties with the two two stars of his documentary-style film - real life lovers who are trying to find a way to escape, safely, to Paris. There is the slightest hint of menace here as the plot develops and although we see little actual evidence, there is a distinct sense that this man is increasingly unwelcome, despite the platitudes from the villagers, encouraging a sixth-sense feeling that the authorities are distantly watching this film-maker. There is a distinct perception of intimidation! What is also clear is that these ordinary Iranian people live in fear of the police, the Revolutionary guard and that rather flies in the face of their genuine, peaceable and hospitable, nature. Now, perhaps Panahi's less-is-more style works for some, but for me I found this all rather a slow watch. He shuffles around with little useful dialogue to develop his on-screen persona, nor my interest in him. Clearly this is a story about freedom and a sort of subliminal oppression but somehow the characters themselves here didn't really develop that theme sufficiently, nor did they really engage me. The ending, too, is disappointing and inconclusive in equal measure and I was rather underwhelmed. The film does offer us an interesting depiction of rural life that probably hasn't changed in millennia, but somehow I felt little better than a fly on the wall with nowhere near enough to go on to join in. Perhaps just too much of this is predicated on a knowledge by the audience of this director and of his relationship with his government.
In the 1970s, Director Kim is obsessed by the desire to re-shoot the ending of his completed film Cobweb, but chaos and turmoil grip the set with interference from the censorship authorities, and the complaints of actors and producers who can't understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece?
When an aspiring filmmaker tries to make a project about Jeddah little does he know what the beloved city means to him until stumbling upon an underrated maven cinematographer living in a country without cinema.
A dystopian future set in a totalitarian world , where a young man's life is about to change.
Haunted by an accident he caused in high school, a damaged filmmaker is forced to go back to the scene of the tragedy and face the old friends whose lives he ruined and a town that disdains him.
While attending a retrospect of his work, a filmmaker recalls his life and his loves: the inspirations for his films.
The story of a sex worker struggling to connect with the people around him. As his world turns increasingly hostile, a descent into isolation brings him face to face with his past.
Set during the dog days of summer, a group of teenage boys inhabit a makeshift bike part in a secluded wooded area of Toronto. David (14) craves the attention of Peter (17), an older boy and a natural leader to the group, while being mercilessly teased by his best friend, John (14). When their hidden world is breached by an outsider, anger, fear and misunderstanding lead to a violent outburst.
An experimental self-portrait, MMXIII explores phenomenological subtlety, intersections of construct and verité, and the ways in which technology, landscape, and beauty coalesce.
Adrian and Duru get lost in the characters they play in an apocalyptic film and embark on a secret mission to end the world for real. Second entry in Adrian Țofei and Duru Yücel’s trilogy which includes Be My Cat: A Film for Anne and Pure.
A young advertising executive's life becomes increasingly complicated when, in order to impress her boss, she pretends to be engaged to a man she has just met.
