Taxi Téhéran

Panahi was banned from making films for 20 years by the Iranian Government in 2010 but who then responded by making idiosyncratic 'films' with no actors and no end credits and then smuggling them out of the country.

In Tehran Taxi, Panahi masquerades as a taxi driver and picks up a range of curious passengers throughout Tehran; from a couple of old ladies nursing a goldfish in a bowl, a mugger, a flower seller and a traffic accident victim.

It's an unusual style, but one made familiar by dash-cams across the world and both the subject matter and style of interlocking stories reminded me of Jim Jarmush's 1991 film 'Night on Earth'.

Panahi isn't a comedian, but his style is lighthearted. The fact he is a film maker rather than a real taxi driver also means that he doesn't know many directions around the city and he further bemuses passengers when he refuses to take payment at the end of the ride. Equally though film paints an interesting picture of the everyday lives of the passengers and the buzz of the city going on on the streets of Tehran outside of the taxi's window.

Tehran Taxi is an excellent film. Sit back and enjoy the ride!

Some films can't be fully appreciated without knowledge of the way they have been conceived. This is clearly the case for 'Taxi Teheran'. The story behind it: Iranian film maker Jafar Panahi has been convicted by the regime for making 'subversive' films, and is no longer allowed to film in Iran. Consequently, Panahi has switched to making 'stealth' films: his film making is no longer visible. These films are smuggled out of the country and showed in art-house cinemas around the world.

'Taxi Teheran' is filmed with a dash cam. It shows Panahi as a taxi driver in Teheran, talking with his passengers, and discussing the hot political topics in Iran he is not allowed to touch upon. His passengers talk about the death penalty, about political prisoners, about the male-centred inheritance laws, or about Ghoncheh Ghavami, the woman who got a prison sentence for attending a volleyball game.

Panahi cleverly links the political issues to real-life situations, such as the wish of a of a motorcycle accident victim, to have his last will and testament filmed with a smart-phone, before he passes away. The film is far from boring and has some funny moments. It's all done in a documentary style, without any artificial cinematographic additions. Still, everything is staged, and some camera movements and cuts make clear that Panahi is a professional director.

Unfortunately, just its being made in a stealth mode doesn't mean 'Taxi Teheran' is a terrific film. It largely depends on the dash cam-gimmick, which wears off after a half hour or so. The story itself is too meager to carry the whole film, and some of the taxi passengers are just not interesting enough to grab the viewer's attention.

This is one of the unique film, and the filmmaking I have seen. It is a docudrama, starred and directed by Jafar Panahi. It is my first film of his and I'm very impressed. I also learnt he was banned from making movies and to leave the country since last 5 years. But he took all the legal route possible to keep making them, and this movie is the result of it. He had made a couple of them before this, but with this he came outdoors to capture the streets of the Iranian capital.

This movie entirely set in a taxi, well, the cameras never leaves the car, but car roams around the city, Tehran. A real time movie that runs for nearly 80 minutes. There's no open or the end credits other than the title texts and some statements. The story was very interesting, that I don't know whether it was scripted or factual, but the planning was so good to shoot it in a low profile.

All the actors except the director were non pros. That definitely needs a loud applaud, because the outcome tells the quality of their exhibition. It gives a glimpse of the life as a taxi driver who sees the city through his eyes and meets the people. Some scenes were extremely funny, some were dark humours and some were thoughtful. Each time when a new character enters the frame, a new topic has brought with them and discussed, that mean the movie is totally engaging with a variety that keeps you hooked till the final.

"We already have the world record of hangings after China."

I think the end was very smart, because of that kind of conclusion and no post-production credits, I thought that's how the archives were smuggled out of the country and made it ready. But no one knows the truth how it all has been done, otherwise Jafar Panahi would have landed in a trouble. A rare gem and one of the best of 2015 that you must try it if you are a film fanatic.

Initially, I mean before decide to watch it, I was not sure it will reach my expectations. When I sat for it, the experience was different and now I am extremely happy for giving it a try. Opinion might vary about the film, but the effort must be appreciated. Especially in a circumstance where the filmmaker has everything against him, I meant legally, but came strong in what he believes is his passion. That is inspiring and also for a risk he has taken really paid off.

It won a few Internation Filmfare awards and that's how I actually came to know about this. I'm positive this film won't disappoint you as well, well, if you are not looking for twists and turns like an intelligent or a big budget film. As I said, I could have not asked a better than this, a very simple yet entertaining movie.

8/10

Going into a screening of this film, there are a couple of things an audience should know. In 2010 Jafar Panahi, was arrested for making a film against the Iranian regime. Since then he has not been allowed to make films, leave the country or participate in interviews. Taxi, however, is his third film since the ban, and even though it's filmed entirely within the confined space of a taxi, it shows us the streets of Tehran. We're out in the open, right under the nose of the Iranian government.

Read More Here (https://filmcurious.wordpress.com/2015/05/02/review-taxi- 2015/#more-145)

Jafar Panahi is an Iranian filmmaker who has made some very interesting films, such as "The Mirror". However, despite his films seeming to be very slight, enjoyable and rather apolitical, he's gotten into trouble with his government. He was arrested back in 2010 and no specific charges were forthcoming for some time. In the meantime, filmmakers from all over the world pressed for his release. Eventually he was released but the government also said that he "was making a film against the regime and it was about the events that followed the [2009] election" and that was why he was detained. Because of these vague charges, Panahi has been banned from filmmaking for 20 years. But, Panahi has continued to fight this and made "This Is Not a Film" (2011) and "Taxi" (2015) while under this ban. These projects were smuggled out of Iran and have been shown in the West...and the exact consequences to Panahi are uncertain.

As far as his latest film, Taxi, is concerned it's an extremely strange project--so strange I really cannot rate it. The film is completely untraditional and I've never seen anything like it. The film looks like a documentary with no real actors, though the story is in fact a story and the folks participating are not unsuspecting members of the public. In the film, Panahi plays himself and he's inexplicably driving a taxi and using a dashcam to record his passengers. The recordings are supposedly meant to illustrate some of the societal themes Iranians are struggling with and they supposedly talk without realizing they are being filmed. Among the many themes you learn about is an underground cottage industry which illegally disseminates banned Western films, how the incredibly strict Sharia Law is impacting society negatively as well as the overall climate of suspicion and secrecy. It's all incredibly strange and looks a lot like a reality television show...albeit one set in Iran.

So did I love the film? No...not really. It is very interesting and thought-provoking but it also lacks the sort of narrative or style of a film. There are no real opening or closing credits and it looks more like raw footage of Panahi and his passengers was simply smuggled out of the country. Because of this, you cannot rightfully give the film a score such as an A, B or C...it's more a piece of art that also has the ability to place the viewer into the cab along with these people to glean little snippets of their lives and their concerns. Intriguing and out this week on Netflix.