Para uma melhor experiência no MUBI, atualize seu navegador.
Eleştirmen yorumları
Taksi Tahran
Jafar Panahi Iran, 2015
Panahi continues his fugitive cinema, now five years and three movies into his 20-year ban, with results that remain inventive and altogether inspiring… What Panahi creates is an act of defiance at its most affable and subtly provocative, where the camera as an object is given a deeply meaningful sense of physicality. What happens to this object, then, is a twist that resonates like a cruel violation.
January 18, 2016
Yazının tamamını oku
Good to see [Panahi] going back to people – his best subject – after the dead-end introspection of Closed Curtain, good to see him in high spirits generally, though the film is in no way ‘real’ (it’s clearly staged, incl. camera angles that couldn’t have come from that dashboard-cam) and is also quite didactic behind the good humour, almost every encounter turning into a discussion of sexism, racism, capital punishment or Islamic strictures on movie-making.
November 15, 2015
Yazının tamamını oku
Taxi has a grand sense of humour. It rather lovingly suggests that crime and punishment are relative terms; one man’s serious offence is another woman’s slap on the wrist. What’s clear, though, is that the cinema can help clarify these gradations when examined by artists that still see hope in human nature and art itself.
October 30, 2015
Yazının tamamını oku
In encompassing such direct criticism of the state security apparatus, this is a courageously forthright offering from a filmmaker already facing the possibility of jail, yet ultimately it’s aimed at a younger generation of Iranians. Panahi is addressing those coming of age at a time when ease of access to digital image technology makes it doubly important for them to look beyond the ideological parameters being set out before them.
October 30, 2015
Yazının tamamını oku
…These incidents raise the question of what makes Panahi special when technology permits anyone to become a filmmaker, though the answer lies in the very nature of Taxi. Panahi looks for new perspectives everywhere he goes—note how he engages all his passengers in serious conversation, as though preparing them for roles—and this search reflects his unwavering devotion to cinema, which has the power to transmit those perspectives to the world.
October 29, 2015
Yazının tamamını oku
For the casual arthouse viewer, Taxi Tehran has a bit of a paradox to contend with: on one level it feels like a joshing and accessible entry-point into Panahi’s work, but it also depends for so much of its effect on these sly nods and homages… It works best as a reminder of everything Panahi wants to say as his curfew nears its close – the services, like the proprietor of a lit cab in the city centre, he’s still restlessly eager to give us.
October 29, 2015
Yazının tamamını oku
Oppression has transformed Panahi’s art. Under the pressure of circumstances, he has turned from a classicist into a modernist, while at the same time transforming the very codes and tones of his frame-breaking aesthetic. He puts his own life into his film as an existential act of self-assertion against his effacement by the regime. Panahi turns the kind of reflexive cinema that, in the United States, would risk critical dismissal as narcissistic into a furious act of political defiance.
October 13, 2015
Yazının tamamını oku
Is the correct title for Iranian director Jafar Panahi’s latest film just Taxi, or Jafar Panahi’s Taxi? That ambiguity speaks to the movie’s beguiling, quietly revolutionary nature. On one level, this is a film about Panahi driving a taxi — which may not sound like much, but feels like an act of civil disobedience when you consider the fact that his last two, This is Not a Film and Closed Curtain, were made under house arrest.
October 03, 2015
Yazının tamamını oku
The weird intermediate state of things is perhaps meant to keep the viewer off balance, but the resultant experience is more frustrating than beguiling or provocative… [Certain] chilling moments underscore the unusual fact that whatever I might have gotten out of “Taxi” from the perspective of my own enlightenment and/or enjoyment, it’s nevertheless a film that on a very crucial level needs to exist.
October 02, 2015
Yazının tamamını oku
The simple conceit initially gives the impression that Taxi is a documentary, before one overly staged vignette breaks that illusion. Despite the fact that it’s all orchestrated, though, the film feels as spontaneous and digressive as a Charles Mingus composition, and just as paradoxically light and dense.
October 02, 2015
Yazının tamamını oku
Ever the resourceful prisoner, Jafar Panahi has managed to make a journey film without leaving the streets of Tehran. Taxi is an expansive road-trip movie in the best tradition of the genre, even though by necessity it travels in circles… Instead of throwing up his hands in the face of government control, Panahi has brightened. About ten minutes into Taxi, there is a shot of Panahi broadly smiling, and such a simple gesture is awe-inspiring.
October 01, 2015
Yazının tamamını oku
That the director of such teeming, expansive works as The Circle (2000) and Offside (2006) should find himself limited to the confines of a car may seem lamentable, but Taxi has illustrious cab-bound ancestors, most obviously Ten (2002) by Panahi’s mentor, Abbas Kiarostami, as well as Jim Jarmusch’s Night on Earth (1991). And with the intrepid Panahi in the driver’s seat as both novice cabbie and veteran filmmaker, spatial restrictions predictably provide ample opportunity for formal innovation.
October 01, 2015
Yazının tamamını oku
[It’s] an excellent, multi-layered work of art, by turns technically inventive, politically cogent, and alternatingly caustic and comic—the kind of achievement that inspires not only through the mere fact of its existence but also through the depth of its vision and strength of its humility.
October 01, 2015
Yazının tamamını oku
Taxi may feel slight and loose, but it exudes joy and wit, its vivacity making the film a much more eloquent act of protest than the solemn, introverted Closed Curtain. Panahi, intermittently glimpsed smiling behind glasses and flat cap, seems to be having a great time in enjoyable company—and it’s only a shame that we don’t know who most of his collaborators are.
October 01, 2015
Yazının tamamını oku
Often extremely funny, always thoughtful, the movie transcends its static nature to become a deeper picture of modern Iran than any news story could offer.
September 30, 2015
Yazının tamamını oku
Even as circumstance forces Panahi to turn his lens inward, he continues to depict an increasingly expansive vision, one equally haunted and puckish. Far from being broken by his ordeal, Panahi is making the strongest films of his career, and Taxi may be the strongest yet.
September 28, 2015
Yazının tamamını oku
Taxi is brilliant, an ongoing catapulting push – with tons of talk talk talk, never a dull moment, jokes and snarks, and philosophical discussions – all a push towards expression, towards meaning, towards acknowledging reality.
September 23, 2015
Yazının tamamını oku
The intriguing conversation between Panahi and his niece brings back to the surface Rudolf Arnheim’s notion of illusionism as representing what one already knows, not what one sees that might challenge one’s preconceptions.
September 15, 2015
Yazının tamamını oku
This Is Not a Film and Closed Curtain also dealt, via a meta mix of reality and fantasy, with the trials of creating art within a suppressive system. There’s something even more potent about Taxi’s approach, in large part due to the mobility provided by the cab itself… An artist can be continually on the move and still be trapped. That Panahi still feels the muse’s call under such duress is an example to celebrate and to follow.
September 10, 2015
Yazının tamamını oku
What develops is not a documentary but a rehearsal of the guiding principles, and the methods, of Panahi’s cinema, before and after his arrest in 2010. He presents us with an infinite regression of setups, touching on both his own movies and the difficulties for any filmmaker of addressing Iranian "reality.
September 03, 2015
Yazının tamamını oku
Despite Taxi’s tangible pleasures, however, one yearns for the broader scope of Panahi films such as Crimson Gold and Offside, personal works that deploy allegory in a less self-referential manner.
May 24, 2015
Yazının tamamını oku
The Golden Bear went to Jafar Panahi for his widely liked Taxi, a film that certainly knows how to please an art-house crowd hell-bent on feeling good and politically savvy… Compared to the rigor and richness of his previous film Closed Curtain, Taxi is flat and trite; compared to the final taxi vignette in Rakhshan Bani-Etemad’s Tales, it’s embarrassing.
May 05, 2015
Yazının tamamını oku
The Iranian government has banned Jafar Panahi from traveling abroad and making films, and with Taxi, Panahi transforms these limitations into an artistic triumph… The film charts Panahi’s attempt to attain a clear moral position in the face of the systematic injustices that he observes and personally experiences as an artist whose freedom has been taken away. Other films began to seem trite by comparison.
February 26, 2015
Yazının tamamını oku
When Panahi picks up his whip-smart young niece toting her own movie camera, what seemed at first a gentle tribute to Kiarostami’s 10 reaches near meta-parody levels, but by the end the deft touches of Woody Allen-esque clumsiness and whimsy make this film distinctly Panahi’s own.
February 10, 2015
Yazının tamamını oku
I at first questioned Panahi’s presence in Closed Curtain, and wondered if there was something self-pitying or navel-gazing about it, but I now realize that Panahi is brilliantly using himself as a symbol and metaphor, and exploits that for expressive and creative means.
February 08, 2015
Yazının tamamını oku
TAXI is funny and sweet—the camera is often looking up into the twinkling eyes of its filmmaker—with coy references to his earlier films throughout. I found myself so enthralled by the absurdity of the film’s comedic banter that I forgot, until the empty credits, that TAXI’s idle chitchat is also the stuff of life and death.
February 08, 2015
Yazının tamamını oku
Panahi’s films are too internationally acclaimed for Iranian authorities to suppress entirely, even if they are undistributable. Maybe letting something like this slip through the system is an allowance of eccentric behaviour, in the manner of Bakhtin. Whatever the reasons, this explicit, entertaining commentary on Iranian authority found its way to the big screen at an international film festival – and it’s worth stating that Panahi is determined, certainly.
February 08, 2015
Yazının tamamını oku
[The filmmaking guidelines given at the school of Panahi’s niece] disallow all discussions of economic or political matters, depictions of violence and suffering, and dictate that good guys are not allowed to have Iranian names — only Islamic ones — or to wear a tie. In Taxi, Panahi deliberately contravenes every one of these guidelines.
February 07, 2015
Yazının tamamını oku
In one brief but tremblingly poignant line, Panahi not only evokes a personal trauma that continues to haunt him to this day, but implicitly suggests the reason that he continues to create art in the first place, despite the restrictions imposed on him by the Iranian government: to try to make sense of his ordeal, to exorcise his resulting demons.
February 07, 2015
Yazının tamamını oku
That the director’s first of these smuggled features, This Is Not a Film (2011), is the best of the three he’s made and to my mind they’ve slowly decreased in quality—Closed Curtain (2013) being very good and his film in Berlin’s competition this year, Taxi, being good—ultimately tells little of how instantly touched I am by these movies… A supremely simple and direct film, it cuts you immediately and straight to the heart.
February 06, 2015
Yazının tamamını oku
It becomes clear that “Taxi” is talking about something much bigger than Panahi’s own personal situation, but rather the dilemma of how to keep telling meaningful stories in a country that places so many prohibitions on an artist’s ability to express him- or herself. The result is a film of quiet but profound outrage, laughing on the surface, but howling in anger just beneath.
February 06, 2015
Yazının tamamını oku
No one would wish a 20-year ban on filmmaking on anyone, especially on a filmmaker as accomplished as Jafar Panahi. The question is whether anyone would dare to say that, as infuriating and unjust as the ban Iranian authorities slapped on Panahi in 2010 is, has it not inspired him to create a fresh round of remarkably innovative works? … Taxi cranks the meta of This Is Not a Film (2011) to eleven and is as light and downright funny as Closed Curtain (2013) is dark and enigmatic.
February 06, 2015
Yazının tamamını oku
These matters certainly weigh heavily on a director for whom filmmaking has become a crime in his own country. But they resonate strongly with how all of us relate to the images we take for granted and their role in defining what’s real, acceptable and valuable to us. These reasons alone make it an essential film of the year, if not the decade. That it’s a thoroughly exciting, entertaining and ingenious work of cinema elevates it to the company of all-time greats.
February 06, 2015
Yazının tamamını oku