Hit the Road

"Long takes statically home in on the characters, who are often inside the vehicle in close vicinity to the camera, whose unspoken emotion and poignant expression is what audience dwells on. As an impending departure is on the horizon, feigned playfulness flakes off a mother's face and bares irrepressible sorrow; a father's habitual sulkiness morphs into resigned tenderness and advice-dispensing, yet his prolong incapacitation (with one injured leg in plaster cast) might take on a more figurative signification here. The only constant is the younger son, whose bratty, sassy cuteness inclines to get under one's skin in no time.

However, when the chips are down, a fixed wide shot keeps the emotional leave-taking in the yonder, a scenic composition with people reduced to ciphers, but its effect is no less impactful, the mother's scurrying desperation is all the more visceral in one's imagination. After a botched last goodbye, HIT THE ROAD finishes with a threnody for the moribund pet dog, vicariously it is also for the departed, but the lip-syncing gimmick seems to push the film towards mawkishness."

-

I saw hit the road at Cannes Film Festival and with no prior expectations, was rewarded with a wonderful film, complete with memorable performances from an extremely talented cast. Beautiful and varied landscape shots intersperse the interior of the car where much of the film takes place. Humour (namely from the captivating young actor Rayan Sarlak), well chosen music and great writing, help to balance out the darker undertone of the movie. Mature, bold and most definitely worth watching. Bravo!

"Warn the people, he's an idiot!" Dad (Hasan Majuni)

So it goes for six-year-old Little Brother (Rayan Sarlak, watch for him in the future) as dad prepares anyone outside the family that they have a dynamo for a child, whose older brother is quite the opposite in his quietude. The family is on a secret journey in Panah Panahi's debut Hit the Road, set in the bleak plains of Iran but full of family shenanigans, not quite as light as in Little Miss Sunshine, but having the same surprises of joy and sorrow plaguing any road journey in film, and sometimes in life itself not on the screen but in our own vans.

Reflecting the Iranian New Wave with cinematography and background worthy of Waiting for Godot (even one shot with a single tree against a barren landscape), Hit the Road is about an uncertain destination to the northern border with an uncertain fate awaiting travelers, especially in a world as chaotic as Iran. It would seem the family is not only delivering but also escaping a fate they only partially control.

The shifting tones from comedy to drama--the boy without his cell and the older brother without a future-- show a young director already in charge of his craft.

Emblematic of the riotous life of a very bright but eccentric family is the contradictory relationship between dad and Little Brother, who banter in a beautiful fantasy scene about Batman while Little can equally be chastised for being loud and provocative (he's precocious, if you couldn't tell). Also telling is the long wide shot by cinematographer Amin Jafari where something quietly tragic is happening, set on a riverbank evocative of Ingmar Bergman's iconic Seventh Seal long shots.

Oddly-placed musical numbers are a welcome respite from the growing sense of doom, and another clue to the happiness that may bless the family, if not on this journey.

As lovely Mom (Pantea Panahiha) provides the moderating influence among the warring factions of the family, she also carries the melancholy of one who knows the separation and tragedy that fate will eventually deliver along life's journey.

Hit the Road is a family-trip masterpiece from a 37-year-old director whose legendary director dad would be proud. Among the laughter and tears is a common thread for humanity: Just keep going.

An absolute gem in Iranian cinema, where Panah Panahi the son of Jafar Panahi takes the realism to another level, where the reality of life in Iran becomes surreal. "When we were kids, we would swim in it. Nowadays, you can only have a dust bath." The film depicts the very last trip of the family together. But Panahi keeps it real as it is in life. He shows simply by deeply the worries, sorrows and concerns of each family member. The movie is really Iranian, bittersweet. We've learned how to laugh and make jokes in our craziest, saddest times just like when the Mom is dancing with tearful wet eyes.

The actors are great but Pantea Panahiha is absolutely brilliant. Dialogues are so well written and the movie is full of poetic long shots which Panahi has brought from the cinema of his dad and predecessors masters like Kiarostami but it never gets boring.

The debut movie of one of the my favourite Iranian filmmaker Jafar Pahani's son Panah Pahani. A perfect road trip comedy movie with heart stakes and unforgettable characters.

This movie is simultaneously lighter and deeper.

Filled with equal parts goofy laughs, humanistic

warmth and philosophic inquiry. Subtly reveals its deeper layers with a light touch. Talent clearly runs strong within the Panahi family. All the performances were so good, specially the child actor Rayan Sarlak's little brother character deserves to be in the hall of fame of great child characters. He is an absolute gem..