En route!

"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.

Quite a strange road trip adventure that walks the lines of dark comedy as much as those of the unexplained, seemingly unhappy circumstances that keep this family's bizarre dramatics moving along.

As much as you really want to know what exactly is going on, the film still succeeds in serving genuine entertainment with an overall experience of humor and culture through moments of classic songs, references to Western cinema, and the most picturesque Persian landscapes that rival other films where anyone has described the scenery as resembling a painting.

Apart from the general impression left on me from the Farhadi films I discovered earlier this year, this was an even more satisfying, yet completely unexpected selection that now holds a place for me as one of the most scenic, comical, and cosmic Iranian films I've ever seen so far.

"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."

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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.

If you wanna watch a movie with real human beings as characters and not caricatures, this is your movie. This is a drama with comedy elements. Deadpan humour some times, heart-warming some others. There is a dividing line between "intellectual" and "highbrow". Most artistic movies cross that line. This one didn't. These are real people and their real problems. But there is no misery here, not doom and gloom. There is hope and love, whilst the movie remains heartfelt. Darkness/Light, Cry/Laughter, Hope/Despair. Balancing eternally.

I could never imagine that a kid who yells and screams all the time, would be such an adorable character. Every actor here is excellent, especially the father.

I can't rate it higher because it's not the most interesting movie ever, it's a simple road movie, not something mindblowing. (Still, it kept my interest). But its simplicity is a positive thing, simultaneously. There is a moment in the middle of it, shall i say, pure magic, you will know when you watch it. Even if you don't like this movie, there is no way you won't love this scene.