VALUTAZIONE IMDb
7,2/10
4244
LA TUA VALUTAZIONE
Due storie d'amore parallele in cui i partner sono ostacolati da ostacoli nascosti e inevitabili, dalla forza della superstizione e dai meccanismi del potere.Due storie d'amore parallele in cui i partner sono ostacolati da ostacoli nascosti e inevitabili, dalla forza della superstizione e dai meccanismi del potere.Due storie d'amore parallele in cui i partner sono ostacolati da ostacoli nascosti e inevitabili, dalla forza della superstizione e dai meccanismi del potere.
- Regia
- Sceneggiatura
- Star
- Premi
- 4 vittorie e 8 candidature
Bakhtiyar Panjeei
- Bakhtiar
- (as Bakhtiar Panjei)
Narges Delaram
- Ghanbar's mother
- (as Narjes Delaram)
Reza Heidari
- Reza
- (as Reza Heydari)
Aliye Tuzun
- Police
- (as Aliye Tüzün)
Trama
Lo sapevi?
- QuizActually, the entire scene shot in Istanbul Kadikoy, not in Turkish border town.
Recensione in evidenza
Director Jafar Panahi is midway in his imprisonment/house arrest in Iran, a victim of a relentless Islamic theocracy. That little matter hasn't kept him from making five films, sometimes using technology to direct remotely, for instance, his current "No Bears," in which he depicts himself directing a film within the film. Directing a Turkish town from a place near the Iranian border lends a romance to an otherwise mortally-dangerous enterprise.
His films show how he fights the restrictions of the regime on his art. All five in some way or another may reveal his oppression and lack of artistic autonomy. Panahi's films reflect his late mentor, Abbas Kiarostami, and his challenging tension between "narrative" and "documentary," when a camera seems to play between fiction and reality.
Because he hasn't been allowed to leave Iran for 10 years, his movies have a cachet usually relegated to an artistic outlaw: "This Is Not a Film," "Closed Curtain," "Taxi" and "3 Faces" are almost classics. New Yorker magazine says "No Bears" is one of the best dramas of the year, and they're right.
In No Bears, after a wild opening in which an exiled Iranian couple argue in the street about a corrupt passport and escape into Europe, we realize it's a scene from the movie he is remotely directing. Then we are thrown into a Romeo and Juliet mash up that leaves Panahi's director at the mercy of local forces, both official and citizenry, who lay tradition and family rumbling at his feet for a photo disc he allegedly has that would resolve a fight over an arranged marriage.
Panahi's director claims he has no such compromising photo of the couple, but he shows little respect for the local traditions inherent in the love affair. Underneath, of course, is his comment on cinema as a means of discerning truth in a culture of fake news. The scene of Panahi feverishly looking for cellphone reception smartly underscores the struggle to find truth.
At the least, No Bears is a profound statement about the power of filmmaking as it clashes with custom and reality. It is a masterful meta-fiction that tells a complicated cultural tale and the fraught participation of cinema. 80 for Brady it is not.
His films show how he fights the restrictions of the regime on his art. All five in some way or another may reveal his oppression and lack of artistic autonomy. Panahi's films reflect his late mentor, Abbas Kiarostami, and his challenging tension between "narrative" and "documentary," when a camera seems to play between fiction and reality.
Because he hasn't been allowed to leave Iran for 10 years, his movies have a cachet usually relegated to an artistic outlaw: "This Is Not a Film," "Closed Curtain," "Taxi" and "3 Faces" are almost classics. New Yorker magazine says "No Bears" is one of the best dramas of the year, and they're right.
In No Bears, after a wild opening in which an exiled Iranian couple argue in the street about a corrupt passport and escape into Europe, we realize it's a scene from the movie he is remotely directing. Then we are thrown into a Romeo and Juliet mash up that leaves Panahi's director at the mercy of local forces, both official and citizenry, who lay tradition and family rumbling at his feet for a photo disc he allegedly has that would resolve a fight over an arranged marriage.
Panahi's director claims he has no such compromising photo of the couple, but he shows little respect for the local traditions inherent in the love affair. Underneath, of course, is his comment on cinema as a means of discerning truth in a culture of fake news. The scene of Panahi feverishly looking for cellphone reception smartly underscores the struggle to find truth.
At the least, No Bears is a profound statement about the power of filmmaking as it clashes with custom and reality. It is a masterful meta-fiction that tells a complicated cultural tale and the fraught participation of cinema. 80 for Brady it is not.
- JohnDeSando
- 12 feb 2023
- Permalink
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Dettagli
Botteghino
- Lordo Stati Uniti e Canada
- 167.333 USD
- Fine settimana di apertura Stati Uniti e Canada
- 6.173 USD
- 25 dic 2022
- Lordo in tutto il mondo
- 1.182.544 USD
- Tempo di esecuzione1 ora 46 minuti
- Colore
- Proporzioni
- 1.85 : 1
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