Teheran Tabu

A powerful film that leaves the viewer completely appalled at the end. Rotoscoping is ideally suited to this film by allowing the viewer to focus on the action and dialogues without being distracted by the details of untransformed images. This lets the viewer realize how religions, especially that which prevails in Iran and elsewhere, have been invented to control people, especially women. In Tehran Taboo, religion is clearly exposed as a catalyst used by criminally insane authorities to facilitate their crimes. Made me glad to be an atheist.

Exploring the sexual & gender double standards in contemporary Iran, all resulting from their strict religious codes, Tehran Taboo paints a thoroughly fascinating portrait of everyday life lived in the bustling modern metropolis where breaking societal taboos has now become the only way for its people to achieve freedom & happiness.

Extremely pessimistic, Tehran Taboo wants to say everybody in Iran is corrupted because of the theocracy in the Islamic Republic of Iran. From the point of view of this animation, everybody who lives in Iran is a lier, disgusting, insinuating, maniac, selfish and egocentric. But it is just a cartoon and doesn't show the real-life in Iran. Unfortunately, the international festivals gave some rewards to this animation so the one who doesn't know the truth about Iranian real people and their lives may believe that all the issues in Tehran Taboo is base on reality.

The idea of an animated film through rotoscope made the frames eye catching and interesting to watch. It also helped to make the movie more believable since it has not been shot in Tehran. But the story has been superficially narrated and has not gone to more than a collage of the misery of a nation.

The spectator cannot sympathize with the characters, since there is just a lot of unfortunate incidents taking place one after another, without answering fundamental questions. For instance, why is the boy mute? Is it congenital or has anything happened to him? Why does the woman become a prostitute? Why has the neighbor aborted her child two times? The movie COULD make us to take SOME of the conditions for granted, but the questions are too many and the story seems to be a realistic one.

The director/writer could instead take few of the issues that he brought up in the movie, and just develop the story around them, instead of narrating all of the misery one after another. Unfortunately this type of story telling makes the movie not last for long and be only useful to win awards.

'Tehran Taboo' is a film that could not have been made in Iran today. Its creator, film director and animator Ali Soozandeh lives in exile, and the film was made in Germany and Austria in 2017. The action takes place in Tehran today, a metropolis with many modern aspects (architecture, traffic, advertising), but also a city controlled and dominated by the laws of the Islamic Republic. Contemporary Iranian cinematography has managed to bring this city and some of the political problems and moral dilemmas of its inhabitants to the screen in many films, some remarkable, but no overt criticism, nor open approach to sexuality and issues related to women's status, could have appeared so directly in a movie produced in Iran. By the technique chosen (animation derived from filmed acting, called in specialized terminology 'computerized rotoscoping'), Soozandeh manages to create a film which looks modern as means of expression, and which exposes openly, almost exhibitionistly, some of the themes that are prohibited or difficult to tackle for film makers living and creating in Iran.

In many ways, Ali Soozandeh's film resembles the films of his colleagues filming in Iran. Tehran streets, taxis, house interiors, confrontations with religious authorities, strict norms of Islamic morality, family issues - all are familiar to those who watch contemporary Iranian films. The decor is the same, but the stories are different. There are first of all female stories related to the situation of women in a country where these are subject to double discrimination - the political one togrther with men, the social one because of their status as women in a society in which the family laws but also the economic or professional ones subordinates the women to the will of men (husbands, fathers, brothers). Far from ensuring the moral tranquility and the social security desired by the authorities, repression creates an entire underground world characterized by corruption, domestic violence, prostitution, drugs. Can ordinary citizens and especially today's young people in Iran lead a normal life? The point of view is quite pessimistic - from the current situation there seem to be only two exit gates: exile or death.

Ali Soozandeh continues and extends the trend of using animation as a format for political docu-drama. It is very interesting to note that the source of this trend and some of its major achievements originate in the Middle East. Both Marjane Satrapi, the author of 'Persepolis', also an Iranian who lives and works in exile, and the Israeli Ari Folman, the author of 'Waltz with Bashir' come from cultures in which the imagery of the human figure is forbidden. Their approach to animation is determined not only by the desire to use a form of popular culture that has become quasi-universal, but also as a gesture of artistic frond and distancing from constraining traditions. 'Tehran Taboo' succeeds both artistically and politically, capturing the attention and sending a message of defiance and a cry for help. The film looks good from an aesthetic point of view. Its female characters very well developed, especially for an animated movie, and are memorable - full of humanity, dignity, humor. Through his animation, defying the prohibitions and bringing up the taboos that his colleagues cannot speak about as openly, Soozandeh continues and complements the works of today's other filmmakers in Iran.