Along the winding dirt roads, in a shiny black van, travelling the director Jafar Panahi and actress Behnaz Jafari from Tehran against Iran's remote northwest corner. She has received a video via Instagram. A young girl (Marziyeh Rezaei) has apparently called the popular actress and asked for help without success. Now commits she suicide in front of the camera. Her parents have refused to let her train to be an actor.
They all play themselves in the Panahis virtuoso combination of metafilm – a film about film – and the sharp, humorous and minimalist depiction of life in the part of Iran, where he has his roots. Above all, of women trapped conditions in iranian society that oförställt celebrates masculinity.
While the car moves through the night reasoning about the video's veracity. They are on the way to confirm or refute that a suicide had actually taken place. In the process, widening the perspective to also quiet comment on the general political developments in Iran.
the Day dawns, in the village they are received with open arms in the belief that they will with electricity, mobile phone coverage, a veterinarian, yes, with all that the villagers lack.
over eight years ago, Jafar Panahi was sentenced to six years in prison – a never-enforced judgment – and to twenty years yrkesförbud to have campaigned against the islamic state. He had certainly been able to leave Iran, but then never come back. He has stayed and with the help of friends and family delivered three films, all award-winning at festivals around the world, but invisible in official home: ”This is not a film” (2011), ”Closed curtain” (2013) and Guldbjörnsvinnaren ”Taxi” (2015).
With time, he has been able to leave the house arrest and the limited games rooms in their own apartment or the taxi in Tehran and have increased freedom of movement.
He takes the opportunity by traveling to the north and tie together three generations of actors of women before, during and after the revolution of 1979. Shahrazad, the once celebrated singer and poet is regarded as a pariah, where she retired to a humble cottage on the outskirts of the village. In reality, she lives in Isfahan, but was gagged after the revolution.
In these days, when filmdukarna are riddled with special effects and bombasmer it is a relief to witness the Panahis clever mixture of fiction and reality.
In ”3 women” is to be admired Behnaz Jafari and sign autographs. Marziyeh Rezaei found eventually, in spite of her shameful desire to be ”entertainers” to challenge the old hedersbegreppen and a furious brother.
are riddled with special effects and bombasmer it is a relief to witness the Panahis clever mixture of fiction and reality: as for example, the tired and injured bull in anticipation of the many pilska heifers that just is on the way, the proud old man who saved the poster from the averages of Behrouz Vossougis prerevolutionära hjältedrama ”Tangsir” next to the son's supposed auspicious foreskin and the intricate signalling system when the cars are able to meet on the narrow roads, ”without rules, we can't meet”.
for deals on tea and confidences of the men and more comfortable pillows of the women approaching Panahi the constant mixture of the past, the present and the present. And as a signal of the futila in the threat of violence, he allows Marziyeh Rezaeis angry brother throwing a stone against the car, just listed like an alarm at a distance, and with a single small splitterskada in a corner on the windshield.
Take it as one of the Panahis several hopeful notes.
See more: Abbas Kiarostamis ”Under the olive trees” (1994) with Panahi as the director's assistant, and his own films ”the Circle” (2000) and ”Offside”(2006).