Quiet, out-of-body kitchen sink thriller. When its story fails to engage, its audio-visual portrait of London sticks out. Showing not only the social and cultural aspects, Tabrizian perfectly evokes the lighting, sounds, architecture and even the unexpected weather changes. The final scene is pretty visceral.
More under the surface than what lies on top in a film that seems to enjoy revealing less than it knows. Some very nice framing but for a film based on a photography series the lighting and general visuals go awry now and then. A very subtle yet interesting performance from Shahab Hosseini but all of the white cast members were awful.
3.5* Definitely a slow burner. The script could have been a bit tidier and delivery of some of the actors were amateurish. Some aspect of the story were outlandish but overall as the story goes on it improves. Shahab Hossein delivers a great nuance performance, and if you are not familiar with his work treat yourself to "A separation" or "The Salesman" by Asgar Farhadi. I look forward to Mitra Tabrizian's next film
Really well done, a director that knows when not showing something is better than showing it, how much needs to be told while never falling into incomprehensible mystery. The characters are all so real ( except for the blonde lady who is a bit over the top) that it will still be worth a watch if the film devices do not work on you as well as they worked on me.
Mitra Tabrizian, a photographer-turned-director, has done a great job as the director and it is fair to say that Gholam is full of beautiful stills, and you will enjoy each and every one of the shots; The story was a cliche - so I thought the ending would be awful; Nevertheless the ending was good; A few phony acts may bother you, but Hosseini has done a great job as the protagonist; So it's not a bad film to watch.
A great central performance which casts light on the marginalised immigrant in London. The traumas of his past are etched on his face as is the resignation to his situation. The film is spoilt somewhat but the London thugs that weren't very believable. It was interesting to watch on a personal level as the film's locations literally follow everywhere I have lived since I was a child.
It is patchy and unsettled. Seems being done with a person who has a good knowledge of film history, but it doesn't work as a collective! Lots of references to other films but as a whole, it is not accomplished well. The dialogues are really bad; both in English and Farsi. Lovely sound design though! I guess it was the best point of the film. And also the title suits the film really well! But that is all! Not happy!!
A film grounded in its evocation of exile lives in abeyance, scuffling on the margins of the service economy with family ties and obligations stretched and strained. The portrayals of those outside the exile group are less sure-footed, tending to stereotype. “Taxi Driver” is a reference point, though here the protagonist maintains a passivity in his dealings, which bring on the final moment.
Slow burn London-set thriller about an Iranian cab driver who is approached by some fellow Iranians about a mysterious mission. One-part Iranian new wave, one-part Jean-Pierre Melville, with a touch of Taxi Driver and even a little Fassbinder, this is a mesmerising and immersive debut film by acclaimed photographer Mitra Tabrizian.