Amir Naderi is a pivotal figure in Iranian cinema, both before and after the revolution. In fact, considering the past two decades, we can also observe his contributions to European and American cinema.
"Davandeh" (The Runner), etched in history as the first film made after the Iranian Islamic Revolution, bears the marks of this tumultuous period (with not even a single female cast member to fill the screen).
Perhaps due to Naderi's background as a photographer, he, along with cinematographer Firooz Malekzadeh, has captured some truly epic frames. So much so that I found myself wanting to pause and take screenshots at numerous points throughout the film.
While the film has been praised for its authentic portrayal of Iran's encounter with modernity, for Iranian cinema enthusiasts like myself, it presents a rather problematic progression and handling of the subject matter.
It's as if Naderi had a premonition of what was to befall Iran (he wouldn't have fled to the US if he didn't have foresight), and in the screenplay, he abandoned decades of Iranian cinema's know-how in favor of the Orientalism desired by Western cinema. This is evident in the scenes where European Union flags are conspicuously placed within the frame, and the protagonist's gaze towards them raises questions about the script's credibility.
As one of the rare Iranian films featuring the sea (and even a shark), it's likely that this very aspect secured its immediate acceptance into the Venice Film Festival.
We are confronted with an editing style and protagonist tracking that is quite unfamiliar to us in Iranian cinema (or at least to the world, and to us Turks, accustomed to Yesilcam Cinema). The majority of the scenes serve neither the main character's development arc nor the overall narrative.
Despite its inherent flaws, this film, a significant piece within the Iranian cinema landscape, was recently restored in 4K by Criterion. If you happen to come across it, I recommend at least a cursory viewing.
