They are both on the run: the man with the dog he isn’t allowed to own because Islamic law deems it to be unclean, and the young woman who took part in an illicit party on the shores of the Caspian Sea…
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Panahi's follow-up to This is Not a Film is more scripted, which means it's less fluid, and the games it plays with reality more explicit. But it's also much more melancholy—not a mischievous act of artistic creation triumphing over adversity, but a work left unfinished when the creator loses hope. So as someone who found This is Not a Film to be a revelation, it left me devastated. 4 out of 5 stars.
Starts and ends perfectly, with one extraordinary bit of business in the middle. The problem is an old one: w/ allegory, one always risks saying very important things in a way that is silly. I like dogs enough, but I wanted to kick that dog in the face. First half is not good, second half is actually quite good.
Closed Curtain is equal parts defiance and despair. Like many Iranian films since that country’s “new wave” in the ‘80s and ‘90s, Closed Curtain is full of contradictions, yet it's also closer to Pirandello or Beckett than the cinematic metafictions made famous by Panahi’s peers.
I am deeply annoyed by the people who claim this film is taking it too far. To me, the writer and the woman and the first part of the film as a whole could be characters of a film Panahi could be making if he were able to work. We see the film go on and then along with the director himself, comes reality. They haunt him,sometimes they seem visible to him, sometimes not.They die, but somehow stay alive. Much like him.