Mathieu Langlois
20May12
I'm also considering a pet iguana after viewing this film.
75 minutes where Jafar Panahi doesn't make a film. A "sort of" documentary about a director dealing with his inability to make a film and a subtle critique of the regime who caused that inability. My favourite character: Iggy.
It's hard to rate a film that claims to not be a film, yet Panahi brings you into a world in which he is unable to film, and describes his vision for his newest film. Ballsy, raw, and questions the audience, what is a film?
Neither entertainment nor political ranting, rather a glimpse of life captured while a government try hard for him not to have a life. It can be pretty boring or extremely enlightening at times.
Alexis, André Pereira, Aaron Garrett, Nelson, Carolina Lixandrão, g legs
this felt so real? raw? existentially awesome? yeah. it shows so much more than just a filmmaker being banned from making films. at one point i started crying because you can clearly see how passionate he is about making films. when i was watching i started to get this feeling like i wasn't supposed to be watching, it gets so personal sometimes and it feels like you're spying. it was top-notch production.
Whether it's a film or not is irrelevant. An informed, poetic parable on the state of democracy in Iran. A must see. Read my full review here: http://366movies.com/2012/12/06/337film/
A cellphone-made house arrest film smuggled from Iran on a USB stick hidden inside a cake? Sign me up!
In the limited space of his home, Panahi just did one more time what he knows best - good and interesting cinema! Review and rating: http://alwayswatchgoodmovies.blogspot.com/2012/06/this-is-not-film-2011.html
Banned from making films for 20 years and facing a 6 year prison term, Iranian filmmaker Jafar Panahi made this document of his days under house arrest with the help from some of his friends. A searing work, in which he discusses what the film that got him in trouble might have looked like, and his life behind the camera. It may not be a film by Panahi's definition, but it's a powerful, essential act of defiance.
Conveys the passion of an artist that few films can, and the lengths that they will go to convey their ideas, even when restricted so severely. The final 20 minutes make for electric cinema, proving that real life is often far more spectacular and wonderful than fiction.
A brilliant yet sad film that questions what it is that makes one a filmmaker.
Something so simple, yet it really captured my attention and my heart. This is a film... of a different kind.
It's unfortunate that this film(or non film?) isn't widely available. I had to get this film through 'other means' but it was worth it. As I expected, this is a very important doc even though on the surface it's just a 'day in the life' of Jafar Panahi. My only issue with it is that I didn't want it to end. At times sobering and devastating but it also has some genuine moments of humor.
Someday, hopefully, I'll understand how the Iranians capture the confluence of life and cinema. Self-reflexive, meditative and - what I love most - aware of its own shortcomings. Also, best credit-sequence ever!
twoheadedave, Varun Anisetty, Adam Cook, Andy Cucumber, joelnz, -VAHID-
gostei. o caso pessoal dele (uma daquelas injustiças inacreditáveis) e a forma como se desenvolve é muito humana. Achei cativante toda a primeira metade, onde também neste documentário se insere a obra do realizador e a sua visão pessoal como realizador de cinema, incluindo ele nos fazer ver um filme que não o pode fazer (mas vai descrevendo com muita especificidade). Vale bem a pena ver.
André Pereira, Disma, Polyglot, Mathieu Langlois, Yuki Aditya, Ryan Lattanzio, Bruno Leal
"The Truth will set us free." and Jafar Panahi has been filming this concept in his motion-pictures - no wonder the Iranian authorities are so upset - but really, they should lighten-up.
A iguana que escala a estante de livros ao menor descuido do dono é uma metáfora justa para o que Panahi tenta fazer aqui. Inevitavelmente, o formato de documentário-no-improviso tem um fluxo complicado, mas a necessidade de buscar novas soluções dentro dos limites faz bem à obra na medida em que coloca na pauta mais discussões políticas, artísticas e de linguagem que basicamente todos os outros filmes do ano juntos.