Everytime I watch a Jafar Panahi film it becomes my new favorite film. The protaganist is a brave little girl who's attempt to escape her duty to perform becomes the ultimate performance. Her spirit of freedom blasts away all western islamaphobic propagandanda.
This movie by Panahi is a great example for the never-ending and ever-centering discussion regarding whether a documentary should not only be absolutely truthful and un-staged, but not even seem faked: this film shows how you can try to avoid focusing on such matter as there is no historic attempt in the storytelling, and emotions are real whether staged or lived.
this is a great movie. it is questioning the reality which inside cinema . After she gave up acting she starts to search way of her house ,streets ... She is searching his way in cinema at the same time in reality ... this movie is a reflection of reality .with the director's statement ; mirror.
El quiebre de cómo una pequeña actríz que se subleva invita a la reflexión sobre los límites entre la ficción y la realidad. ¿Qué era lo que veíamos en realidad? Obviamente, todo lo referente al cine es ficción, pero, cómo no cuestionarlo cuando la actriz (ya no la personaje) afirma que ya no está dentro de la ficción, y que lo que era la trama, era en realidad su vida misma. Panahi saca provecho de este boicot.
The film is a huge cheat and as such felt inauthentic; just a second-hand deconstruction in the same tradition of masters Makhmalbaf and Kiarostami. The little girl is hugely charismatic and carries the film (more so during the conventional first half), but the concept is flimsy. It's entertaining and says a lot about responsibility, community and personal freedom, but for me never became more than just academic.
An interesting enough concept intellectually, but after Panahi reveals the gimmick (that the girl is being filmed by him as part of a movie within the movie), it becomes nothing more than cinematic rambling. As the film swerves between the girl looking for her mom and the filmmakers looking for the girl to get her back on set, the meta-ness of it all feels less profound than cutesy
As long there is editing, there is nothing called breaking the 4th wall. The rebellion against being filmed has been co-opted and appropriated for the film. For those who say the film is "seen from the point of view of a little girl", are you serious?! I loved the film and enjoyed it as a film about synchronizing and appropriating the out-takes into the film itself. The little girl is lovely too. 4/5 Panahi.