It's difficult to say anything after that. Like when one of your grandparents dies: you stop talking because something has changed, you feel it, it's in the room, so you just shut the fuck up. Still, there is something wrong with this one. Something in the intention of the director. In her view. Everything seems in its place, all perfect and clean, moving (oh, so moving!), and yet it's all wrong. Or I am wrong...
This was fantastic. The subtitles were a bit temperamental (not sure if it was a technical thing or the film itself), but I was really happy to learn about this artist and watch his way of interacting with everyone. The young artists intrigued me as well. The story is almost too perfect, nearly unbelievable. Also, his thoughts on homosexuality were completely novel to me. I wonder how many people agree with him.
The film overall is an effective, pleasant reveal of an intriguing artist. Mohasses's art is "stubborn expressionism". Drowning in the domineering nature of an individualist mindfulness while attempting to pretend himself, as displayed in his artworks- an observer of the history he belongs, at the same time, ignoring the factual trends as comprising his own expressions and status of a historical figure.
Incredibly touching and intimate film-making. I guess it would be very hard to imagine a better homage (but also a memento mori) to an artist and personality like Bahman Mohasses. The document focuses mainly on the late period of Bahman's life, and we get to literally witness the artist's death, which is handled in a very poetic manner - what an ending!
Definitely one of the most engaging and fantastic documentaries I've seen here on mubi (& in life tbh). Mitra Farahani paints such a great portrait of a complicated but eternally fascinating man, from his works to how he was when the director found him. The film is almost co-directed by him, and I found myself really endeared to Ms. Farahani along the way. It's a rollercoaster of a film with no excess&perfect editing
Fifi Howls from Happiness (named after one of Mohasses’ paintings) is more than just a simple homage thanks to the painter's rebarbative nature and mordant sense of humour and also because of Farahani’s skill at weaving narrative out of lived (and filmed) experience. A fine tribute to the painter, who died in 2010, during filming.