Moody realism conveys a stark poetry in this tale of a cab driver stuck with an abandoned baby in his back seat. Moral quandaries and social fears vie with eroticism when the driver and a lonely woman spend the night with the baby as the phantom facsimile of a family. The film’s finale, set in an orphanage, is a stunning, haunting piece of social realism that was to send ripples of influence through the next four decades of Iranian cinema. —www.utipj.com
Iranian writer, photographer, translator, publisher, and filmmaker.
Ebrahim Golestan was born in Shiraz. He went to Tehran to attend the University of Tehran, then the only secular college in Iran. He studied law at the university but was attracted to socialist ideas. In 1944 he joined the Tudeh, Iran’s most important Marxist political party. In the ideological debates that splintered the party following the Azerbaijan Crisis, Golestan sided with the reformists led by Khalil Maleki and joined him and other dissidents in resigning from the Tudeh in early 1948. That same year his first collection of short stories, Azar, mah-e akhar-e payiz (Azar, the last month of autumn), was published. Although he continued to write stories, in the early 1950s his main occupation became filmmaking. During a twenty-year period, Golestan wrote the scripts for, directed, and produced several films. His movie A Fire was the first Iranian film to receive an international award, winning a bronze medal… read more
"You ought to see this film like a prism. A prism can have some seven or eight parallelographic sides. If you were to look at it from just one side you would only see that one side. But if you were to turn it around, you would see that it has another side, and then if you turned it yet again, you would see yet another side. If you get away from it, you will see that its parallelographic sides will form a volume, and if you were to turn it around very fast, according to the famous experiment of Newton, all the colors will come together and form white. I have made the entire film on this principle. You should not consider any one of these parallelographic sides independent of each other. They all ought to be seen simultaneously, as they are set next to each other, so that the voluminous feel of the whole film is grasped." —Ebrahim Golestan
this film needs and new transfer, but the fact that it exists alone and i can watch it in america is pretty awesome. beautiful lighting and really impressive camera work. definitely an essential piece of iranian cinema.
The best feature length Iranian film I've seen and rivals The House Is Black as the best piece of Iranian cinema I've seen.