SHIRIN -- which is breathtaking, a masterpiece, a true conceptual coup -- above all else returns to the cinema its status as preeminent house of worship. There is much to be unpacked re: the construction of filmed female-centric narratives as a repository for suppressed female desires in a culture that routinely forbids them not only their desires but their very visibility. This is a film of profound visibilities.
The operating principle for the actors seems to be naturalism and nuance, but I found myself stretching for solid footing and projecting emotion onto them more than I actually extracted from their performances- realism looped around into self-negation. Regardless, this is a bold and important experiment.
This film has everything that makes Kiarostami's work something so beautiful, powerful, so hard to figure out. I do feel tempted to talk of women and how they are portrayed in his films. Or about how the figure of the viewer, here, might be the medium. Or how, strangely, after a while, this did feel like the natural way to tell a story. But all is noise. Because his cinema becomes, always, about my experience of it.
Somebody should have filmed me watching this movie. It would have been an hour of curiosity followed by 15 minutes of dozing off followed by 15 minutes of bewilderment. Sad to say, this one falls in line with "Ten" as being a fascinating concept that just doesn't register cinematically.
As john cage did on 4'33 the idea of a piece composed entirely of silence , simillar approach on shirin the camera pointing to the audience for 90 min , non film non entertain , but you cant miss the important observation of work like that , anyways i like ten min older much more because real events rather than setup
Although conceptually rich, not as experimental as one might think. I often felt the myriad of faces begin to blend into a sort of blank canvas/screen onto which we project images of the unseen narrative. And that's only one of about a million things going on in this film.