Ha, I knew it had been talked about and that somebody had mentioned it to me, but didn't remember it was you. What a shitty memory I have. I'm getting close to 200 unseen Iranian films in my collection though so which one gets seen when is a complicated endeavor - this one was on DTC and was relatively short so it made the cut. Might be a couple more I'll get to before Sunday and maybe this year I'll do what I told myself I'd do last year - watch all of the DTC stuff I was planning to watch after the poll is over.matthewscott8 on Apr 21 2017, 03:27:35 AM wrote:Haha, ;) I actually recommended this one to you about a year ago on the 2009 FG thread as I know you like your films Iranian. It's a fine film indeed, I like the comparison to Jauja. I actually thought this one was deeply political, I guess in that part of the world men deal with their uncontrollable lust by making it the problem of women, and scapegoating literally comes from that area of the world, as well as completely Draconian levels of punishment. In terms of levels of agitprop, the tears collection for the well off guy, must break through the top of the agitpropometer. It probably should be on my list really.OldAle1 on Apr 20 2017, 08:47:41 AM wrote:OK, I've got an add to my own top list for the year and another film for your consideration, Keshtar haye sepid / The White Meadows (Mohammad Rasoulof). I watched it now because it's on DTC and I wanted to see at least some of the Iranian films nominated, and I'm glad I did - this is just about as good as the other Rasoulof film I've seen, Dast-neveshtehaa nemisoosand / Manuscripts Don't Burn (2013). The later film is angry agitprop deep down though it has other stuff going on as well; this is a completely different animal, an obscure mystical fantasy of sorts that I'm really going to need to think more about and read more about to get a handle on. The ending reminded me in a strange sense of Jauja, where it seemingly transitions from one "world" to another which reflects on the earlier part of the film in a way that made me completely re-evaluate what I'd been watching for 90 minutes.
Hope this gets seen by other DTC-ers and a wider audience (someday).
No surprise that the director was jailed for this movie.
Yes, it's certainly political, just not *overtly* political in the sense that his later film, or Panahi's post-trial films have been. I think what it's really about at heart is irrationality, the notion that so many people in this world - in rich and wealthy areas as well as in impoverished isolated rural areas, which is what the last scene is all about - simply keep following traditions that have long ago outlived their usefulness (if they ever had any) in the name of religion, nationism, sexism, power, etc, and that until we get everybody (or at least a clear majority of people) to get educated and think for themselves and concentrate on the world we live in now, it will never get any better. At least that's the main thing I took away from it - so to me it is about religion, power and politics in the broadest sense, and yet there's enough specificity to Iran and conservative cultures generally that it never felt vague or unfocused.