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Recensioni
3 Faces
Jafar Panahi Iran, 2018
This may be Panahi’s most personal film, in which he reveals his ethno-linguistic identity.
December 20, 2018
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It’s gratifying to see the fruitful quest pattern revived, and Panahi creates a work that is at once familiar and uniquely imaginative.
October 17, 2018
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Panahi’s newest, 3 Faces, is the most freeform and expansive of the cycle of movies that has come to define the latter part of his filmography, and, crucially, it’s the film that brings him back to the feminist concerns that fueled so many of his definitive earlier works.
October 11, 2018
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In its focus on two would-be artists prevented from practising their art (three if one counts Panahi himself), and specifically on the constraints circumscribing the lives and careers of women (in contrast to the director, who has clearly found clever ways around his punitive sentence), this is also quintessential Panahi.
October 05, 2018
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It emerges as both a culmination and farewell to the strictures within which Panahi has flexed and maneuvered his cinematic vision over the last eight years. The film serves as an exemplary piece from which to reflect upon the continued political pertinence and cinematic innovation of Panahi’s filmmaking.
October 03, 2018
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It isn’t great (lots of longeurs, some dialogue wheel-spinning, etc.), but—like the preceding Taxi, which took place in the titular…you know—it confirms that Panahi is still allowed to go outside the house, meaning he can literally drive into past modes of filmmaking, which is heartening.
October 03, 2018
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It’s one of the director’s most distinctive stylistic achievements, with a visual elegance that sometimes reminded me of Antonioni films like “The Passenger.”
September 29, 2018
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We should expect something more from the filmmaker who once directed expansive, empathetic works like Crimson Gold and The Mirror, and who even made two genuine and deeply unnerving films under house arrest, This Is Not a Film and Closed Curtain. Instead of trying to make a certified copy, Panahi should just be himself.
September 03, 2018
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The same tendency towards telling rather than showing plagues the film as a whole, as everyone is unusually fond of saying exactly what’s on their mind and commenting on what’s currently happening, with merely the closing stretches allowing the images to begin to speak for themselves. It’s only then that the Kiarostami parallels start to feel earned rather than merely unflattering.
July 11, 2018
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It shows Panahi to be ever the resourceful formal escape artist, as he avoids boxing himself in, weaves in some hilarious and scarily blunt encounters with heartland conservatism, and elegantly, movingly reunifies his by-now reflexively reflexive structure with a (not disposably) wistful sense of destiny in the world.
July 03, 2018
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The really absorbing paradox here is that by shifting his focus away from his own lack of freedom and onto that of a whole underclass of Iranian womanhood, Panahi has made what feels like his freest film since the ban was imposed, if also his most elusive.
July 01, 2018
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Although it sometimes flirts with being too much of an homage to Kiarostami’s totemic 1990s films (the recent death of his mentor clearly had a profound effect on Panahi), the proceedings are handled with Panahi’s deft touch, and his unwavering concern for holding onto the mystery of cinema remains unimpaired here.
June 27, 2018
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As fascinating as it may be, the mystery is something of a red herring: Panahi is interested more in exploring the subtle dynamic between himself and Jafari, and looking at his own role as a filmmaker and manipulator in a remorselessly patriarchal society.
May 30, 2018
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It’s to Panahi’s credit that the second half of the film is surrendered to the women and their secret conversations – Three Faces is a subtle and beautiful exploration of female relationships without men told through the limited perspective of the excluded man, who offers a gentle and incisive look at the necessity of his own exclusion.
May 20, 2018
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There is probably less here than meets the eye; the introduction of an (unseen) older actress in the film’s later stages adds little to the unexplored theme of the relationship between performance and reality. In short, where Kiarostami’s films were both intellectually, emotionally and poetically resonant, Three Faces comes across in places almost as pastiche, and never gives an impression of real depth or substance.
May 15, 2018
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The director’s characteristic humanism and rejection of easy judgments suffuses the film with sincere empathy – refreshingly, he acknowledges his own role in the entrenched patriarchal culture he’s critiquing, both as a man and film director. As such, when 3 Faces closes on a bittersweet note, the hopeful gesture of its closing image feels neither cheap nor unearned.
May 15, 2018
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An absence can be a kind of presence, and although 3 Faces is far from Panahi’s best work, it’s still a solid primer on how much a skilled filmmaker can achieve with very few resources.
May 14, 2018
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It’s a distinctly Kiarostami-like setup, and the early sections, in which Panahi and Jafari interact with various villagers—most of whom know Jafari through her television appearances—have a shambling, but generative quality.
May 14, 2018
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Rather than letting the mysteries in his film stand, or prolonging its ambiguities, Panahi prefers to signify potential plot directions and formal strategies and then promptly pivot away from them at the moment they outlast their usefulness. This isn’t the mark of a lesser filmmaker, but merely one who recognizes that his own strengths lie in his intuitiveness, his wit, and his humor.
May 14, 2018
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