Day: February 22, 2011

Jafar Panahi (Not) At The Asia Society: The White Meadows

By Joe Bendel. It is so tragically appropriate that the latest film from unjustly persecuted Iranian film directors Mohammad Rasoulof and Jafar Panahi uses tears as a major plot device, that it is almost embarrassing to point out the aptness. However, it is the repressive Iranian government that should be ashamed. It has sentenced both filmmakers to six year prison terms, on the flimsiest of pretexts. To its credit, the recently wrapped Berlin International Film Festival went out of its way to protest their plight, holding Panahi’s invited place on the Berlinale jury vacant, while screening five of his films in various festival sections. Now the Asia Society follows suit with an equally timely retrospective Panahi’s work, starting this Friday with Rasoulof’s The White Meadows, a strange and unsettling cinematic fable edited by Panahi.

The water has never been saltier and the people living on Lake Urmia’s sandy white isles have never been so miserable. A karmic hand seems to be at work. Seeking relief from their sorrow, they turn to Rahmat, a tear collector, who gathers his watery harvest during their funerals, confessions, and inquisitions. However, after leaving one grieving family, Rahmat is surprised to find a stowaway on his small boat, the young Nissim, who has set out on a truly archetypal quest to find his prodigal father.

From "White Meadows."

As Rahmat and his unexpected apprentice travel from one island to another, Meadows subtly grows ever more fantastical and sad. Indeed, its episodic nature seems like a conscious attempt to evoke the spirit of ancient epics like The Odyssey, while keeping its exact time-frame deliberately vague.

Though he functions as an enigmatic journeyman, Hasan Pourshirazi’s Rahmat is still fascinating to watch as he slowly yields up his mysteries. As young Nissim, Younes Ghazali shows talent beyond his years, effectively serving as the audience’s proxy, viscerally and believably expressing horror at the various injustices he witnesses.

Totally absorbing despite its unhurried pace, Meadows is a testament to the filmmaking talents of director Rasoulof and editor Panahi. As lensed by cinematographer Ebrahim Ghafouri, it is a visually stunning film, often utilizing arresting wide angle shots of its black-clad figures, standing out as contrasting specks against the blinding sunlight and Urmia’s eerie white sand and saltwater vistas.

Given the prevalence of tears and suffering in Meadows, it is hard not to read additional meaning into its story. Rasoulof wisely keeps the political allegory largely shrouded (though evidently not obscure enough). Still, there seem to be clear parallels between the bad karma the islanders are suffering and the sins of the Islamic Revolutionary government. Certain critiques of Iranian society are also inescapable, especially its rampant misogyny. Indeed, when a beautiful woman dies terribly young, one Islander tells Rahmat it is for the best, lest she should inspire unfulfilled lust in the men. Also worth noting, Meadows scrupulously adheres to Iran’s stringent regulations forbidding all forms of physical contact between men and women on-screen.

The standout film at last year’s Tribeca Film Festival, Meadows is a masterfully crafted work that resists lazy categorization (such as “political allegory” or “Arabian fantasy”). Filmed under difficult circumstances, it is also recommended beyond reasons of its considerable cinematic merits. Clearly, the current Iranian regime would like the outside world to forget Rasoulof, Panahi, and their films. Instead, make a point of attending White Meadows at Asia Society this Friday (2/25) and return for Panahi’s films in the coming days and weeks to enjoy their art, but also to remain mindful of their perilous situation.

Posted on February 22nd, 2011 at 12:49pm.

Jafar Panahi (Not) At The Asia Society: Offside

By Joe Bendel. Only the current Iranian regime could make patriotism subversive. Supposedly to protect women from harsh language and rampant testosterone, the paternalistic Iranian regime will not allow women to attend men’s sporting events. It may not be the most pressing human rights abuse in Iran, but it is emblematic of the Islamic Republic’s institutionalized misogyny. Produced under difficult circumstances without official sanction, Jafar Panhi’s Offside depicts the unfortunate drama surrounding several young Iranian girls’ coordinated attempt to sneak into a crucial World Cup qualifying match. Like several of his characters, Panahi would soon find himself behind bars. Currently facing a six year prison term on trumped-up charges, Panahi is not likely to attend when Offside screens this Saturday at the Asia Society as part of their important retrospective-tribute to the persecuted filmmaker.

Disguising themselves as boys, with varying degrees of success, a group of teenage girls successfully bluff their way into the forbidden stadium. Eventually though, they’re rounded up by the equally young military conscripts working the security detail, to be turned over to the morals police at the end of the match. As the young women cool their heels in a holding pen, they try to engage their captors, who have difficulty defending the policy they reluctantly enforce. In fact, several of the female fans seem much more knowledgeable about the game than the soldiers guarding them.

Since Panahi was (not surprisingly) denied official permission to film Offside, he shot rebel-style on digital video, which gives the film a definite cinema vérité look. Panahi’s brave cast of non-professionals duly avoids any sense of affectation. Although some young actors are perhaps a tad uncomfortable in their roles, many, like Shayesteh Irani as the tomboyish “Smoking Girl,” are consistently quite good.

As a film Offside is certainly engaging, as a sort of the dystopian version of Bend it Like Backham, but only too real. Yet it is particularly valuable as an intimate, unfiltered snapshot of Iranian life. Far from a full scale indictment of the Iranian regime, Offside is a small, but telling, slice of everyday absurdism. To borrow an American cliché, one cannot use the film to question Panahi’s patriotism. In fact, the film is suffused with a love of country, as the young fans want nothing more than to chant and cheer for their beloved national team.

Reportedly, even though Offside had only been screened once in Iran at the time of its initial American release, word of the film helped temporarily overturn the ban on women at sporting events, until the religious authorities vetoed the policy change. Offside might seem slight—a group of women simply trying to watch a sporting event—but it signifies the act of questioning authority, even ending with a very minor rebellion of sorts, foreshadowing the Green almost-Revolution.

In addition to his six year sentence, the Iranian government has also imposed a twenty year filmmaking ban on Panahi. This punishes not just the filmmaker, but all Iranian citizens and world cineastes.  Winner of the Silver Bear at the 2006 Berlin International Film Festival (Berlinale), Offside is an excellent example of what the world is losing through the mullahs’ oppression. It screens this Saturday (2/26) at the Asia Society and tickets are free.

Posted on February 22nd, 2011 at 12:46pm.