In his latest film, the now jailed director Jafar Panahi captures the daily absurdities of Iranian lives ruled by surveillance and superstition.
,” from 2015, he plays himself as a cabdriver and builds the action with passengers whom he records on what is ostensibly his security camera. in October and opens Friday at Film Forum, is his most daring, most intricate, and most defiant metafiction, and its very complexity is a crucial aspect of its political fury.
Meanwhile, in the village where Jafar is staying, he gets involved in drama of his own—or, rather, of his temporary neighbors. In his few days there, he gets curious about village life, with its elaborate and highly codified traditions, many of which have to do with marriages and their arrangements. He delegates his temporary landlord, a ditchdigger named Ghanbar , to video-record a premarital ceremony, and, while it’s taking place, he photographs some residents.
There’s palpable joy in the sheer ingenuity of the movie’s conception and in the realization of it. Panahi goes at his subjects with an irrepressible cinematic verve that extends from the story and the dialogue to the performances and the very presences of the actors. Yet for all the immediacy, the spontaneity, the vitality of the moment-to-moment experience, each moment also seems perched on the precipice of tragedy—and that grim instability is built into the movie’s style.
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