No Bears

The movie "No Bears" has a sensitive and dramatic plot against the backdrop of political, religious, tradition, and cultural repression in the current Iranian world. There are two love stories told in parallel by the excellent director Jafar Panahi, who himself suffers military repression for his political movies that challenge the dictatorial Iranian government. Jafar Panahi manages to capture and transmit all the tension that Iranians suffer under the eyes of the so-called Cultural Police. We sense the pressure in the air and nobody wants to compromise or get involved or close to citizens considered traitors to the country and to the traditional customs.

Like many other incredible Iranian movies, "No Bears" is second to none in terms of quality. Simple in showing the daily life of a village and the background of filming a movie, but also bold in showing us what it's like to live in a repressive regime and not bend.

A most excellent movie ! Thoroughly enjoyed it. For sure there were many layers and implicit meanings I missed but that is also what made this film so intriguing. The contrast between the mountain town in Iran and the city in Turkey, all the details, the character extras that clearly showed the cultural differences, I loved that. The border, the trafficking that was implied, the faithfulness to truth of the central actor who is also the director. It's also a movie that celebrates movie making, how storytelling prevails in film, the impact of a story upon the storyteller. It´s a very poignant movie.

Wonderful footage in a documentary style, great story, amazing insight into life on the frontier.

Well worth seeing.

A masterfully crafted film that showcases the incredible talent of Iranian director Jafar Panahi. Despite facing constant harassment and a six-year prison sentence on baseless charges, Panahi continues to push the boundaries of cinema with his deeply personal and thought-provoking work.

In "No Bears," Panahi plays a fictionalized version of himself as he directs a film remotely from the Iranian village of Joban, near Turkey. When his WiFi goes out, he becomes intrigued by a local ceremony and loans one of his cameras to a villager to document it. The film then follows two parallel tracks: the story of Bakhtiar and Zara, which serves as a reconstruction of a real-life event, and the recording of the ceremony, which opens up a can of worms in the village as it is used as evidence against a young woman accused of having premarital relations.

Throughout the film, Panahi deftly explores themes of truth-telling, social activism, and the blurred lines between reality and fiction. The acting is superb, with Bakhtiar and Zara's tumultuous relationship feeling both realistic and emotionally charged. The cinematography and direction are also top-notch, with the film's remote setting adding to its sense of isolation and tension.

Overall, "No Bears" is a powerful and thought-provoking film that showcases the resilience and determination of its director. It is a must-see for fans of Panahi's work and anyone interested in the intersection of art and politics.

The film "No Bears" starts off simple but becomes more complex as it progresses. Even if you're not familiar with the work of Kiarostami and Makhmalbaf, you can still enjoy it. The director, Panahi, mixes documentary-style and autobiographical elements to create a powerful emotional impact. Panahi, who is at the center of the film, is forced to confront the consequences of his work, both for himself and his collaborators. The final image of the film is sobering and resonates with the unspoken anguish of an artist exiled in his own country, who has had enough. It is clear that the director has little left to lose, and this makes "No Bears" one of the best movies of the previous year.

Telling the truth is difficult for Iranian filmmakers. You have Government control on one hand (the real tale of Panahi remotely directing a film being shot in Turkey while stationed on the borders of Iran as he is not allowed to leave the country) and you have quaint traditions on the other (in the Iranian villages on the border) that often lead to tragedy. However good your intent, the road is bumpy and leads you to a sad, nihilistic end. Intelligent filmmaking that captures the difficulty of renowned filmmakers to capture the Kafkesque ground reality in Iran and the frustrations of Iranian nationals today. Deserved the Special Jury Prize at Venice.