A scary moment in this film: when Panahi thinks he hears the voice of his interrogator. He gets out of the car and looks skittishly around, as though he's suddenly back in prison, waiting for more torture. It's a succinct PTSD moment that shows how little sights & sounds in an otherwise "normal" day trigger memories of terrible abuse. Horrible to think how many people the US has tortured & left in the same condition.
esto fue muy grato y alentador para mi, 4++ como dice el biffo. Panahi toma el género camara en mano y lo reformula totalmente, partiendo de algo tan simple desarrolla ideas absolutamente complejas que logran armonía de principio a fin. esos detalles, la próxima semana traigo the big bang theory, el cuaderno de angri birds, entre otros. documental/falso documental ¿dónde está el límite?
An obvious, but good, companion piece to Abbas Kiarostami's Ten (both use the same conceit of being shot almost entirely with dashboard cams inside a car), yet not quite as good as that masterpiece. More drama unfolds in this movie, but to less emotional and intellectually provocative effect, which is not to say this film is lacking really. It just does to less affect what has been done before.
Is directing a crime? Panahi takes a look in this wryly funny film. At first I worried it would be derivative of Kiarostami's Ten, but as Taxi progresses, it finds its own route through Tehran's (dangerous—stay in one lane, Jafar!) streets. The arrival of the precocious niece is when things get really good.
Interesting cinema. Intriguing as well. I have visited Iran several times and even shook hands with the director. I love good Iranian cinema. Yet, Taxi is not among my top favourites from Iran, though it was a delight. My reasons for my initial observations are at https://letterboxd.com/jugu/film/taxi-2015/