This Is Not a Film

Hidden inside a birthday cake and smuggled out of the country, the 75-minute "effort", This is Not a Film, tells us all we need to know about the cruelty of the Iranian dictatorship and the courage of film director Jafar Panahi. Panahi, who has given the world such masterpieces as The White Balloon, The Circle, and Crimson Gold was arrested in March, 2010 and faces a ban of twenty years from making films and a six-year prison sentence for "propaganda against the Islamic Republic." This refers to exercising free speech by speaking out against the rigged elected of Iranian President Mahmoud Ahmadinejad.

As part of his sentence, Panahi is barred from making films or writing screenplays, is unable to speak in his behalf, and forbidden to leave the country. While awaiting the results of his appeal, Panahi is filmed in his home by fellow director Mojtaba Mirtahmasb using a digital video camera and a cell phone. What begins as an innocuous home movie with Panahi sitting at his table eating breakfast takes on an added dimension when he calls Mirtahmasb, asking him to come by to discuss some ideas, but cautions him not to tell anyone about his visit.

While waiting for his friend to arrive, he talks on the phone with his lawyer who tells him that the court may waive the 20-year ban on filmmaking but are not likely to reduce his jail sentence. When Mirtahmasb arrives, Panahi reads from his latest screenplay which was rejected by the censors. Acting out the story, he puts tape around the area to suggest the apartment in which the story occurs. As he begins to read the screenplay about a young woman forbidden by her parents to attend university, tears come to his eyes and he stops, saying poignantly,

"If we could tell a film, then why make a film?" and expresses his regret about the harshness of the penalty he faces. Soon he takes care of his pet Iguana, Igi, and cares for a neighbor's dog who doesn't know the value of silence. As fireworks explode on the streets to celebrate the Persian New Year, a college student arrives to collect the trash as a substitute for the custodian, and the two engage in a dialogue, remembering the day when Panahi was arrested. To bring home the point even more forcefully, Panahi watches as a TV newscaster proclaims that fireworks are illegal. What started out as a home movie at the end becomes an act of non-violent protest.

Jafar Panahi: "If we could tell a film, then why make a film?"

My interest in Iranian cinema started with Dayereh (2000) by Jafar Panahi and since then I've watched a few other Iranian films of which most are directed by him. I remember after the first film I saw, I read about him on Wikipedia and read about his sentence and ban from film making. It is quite shocking and this gives more sense to this documentary which would have never been seen if it hadn't been smuggled out of Iran on a USB stick.

In film nist starts with Jafar Panahi having breakfast over the course of breakfast he calls a friend, Iranian documentary director Mojtaba Mirtahmasb asking him to come over. The only link we have with the outside world is through his phone. Before his friend comes Jafar has a phone call with his lawyer who confirms that he will definitely have to go to prison and that she may try to reduce the ban duration on appeal but it's probably all she can do. She tells him that it is not a judiciary sentence but a political one. When his friend arrives, Jafar Panahi explains the last films he wanted to do and how they were both denied approval and had to let them go. He has the script of one and decides that he can explain it, using his living room, the carpet representing the room in which a girl is- also- imprisoned and a chair for the window.

This is not a film is exactly what the title says it is. It is a day, a documentary at most. Most of Jafar Panahi movies give a lot of freedom to (amateur) actors who creates the whole atmosphere. It seems clear that this was not planned either, this has no script or no particular goal except to have a camera there, to document whatever could be documented before it's too late.

The setting is also particular as the whole town goes crazy over the celebrations of "Fireworks Wednesday" and the two friends stay inside, wondering what to do and how to do it. It gets particularly strange when Jafar Panahi starts recording with his mobile phone, filming the act of being filmed. I think the highest point of this film being not a film, is when Jafar Panahi explains the story of this film he was going to make and in the middle of replaying it... He suddenly becomes silent and his face tells us that he has strong doubts and this is where the quote I picked is said, he doubts the whole concept of a film, of telling a story and if it is a story worth telling. It might be reduced to the film he was discussing in particular, however, I would think that it goes beyond that, that it touches every film he's done including this one.

A lot of the issues are not entirely discussed, maybe as a way to retain dignity in the face of a sentence or simply because they are not thought out to be relevant. These very blunt, almost political and philosophical moments contrast with the comical aspect of his iguana pet slowly climbing a bookshelf or the neighbor who tries to leave her dog with him before he simply starts barking. It is also strongly incidental as when a young arts student walk in to come and pick the trash, a job he does to help out his sister and brother-in-law, suddenly the story focuses on him and as he goes on to pick up the trash, we follow him. In a way, isn't that what movies always tried to do, follow the strange happenings of life?

I liked: It doesn't get much more explicitly banned film, well this is not a film.

I disliked: Very random in a bumpy unscripted way.

70/100 If you are looking for a deep political look in the situation of Iran's cinema industry and its struggle then you won't find it. This is a purely individual look at what it is to be a forbidden film maker.

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I saw this film (or not film, if you want..) at the CPH DOX festival yesterday and was spellbound by it. All reviews I have read, have focused on the political circumstances, and the fact that director Jafar Panahi has been blacklisted and sentenced by the Iranian government. I think many of these reviews focus too little on the beauty, warmth and wonderfully subtle message of this film, or the fresh and uplifting honesty and awareness of its cinematic language. To me the most important and moving aspects of this film, is found in the beauty of its atmosphere. In Panahis search for truth and honesty. In its daring and courageous will to let circumstances and coincidence be the writer and director. In its warm, original and surprisingly humorous form. The way the film evolves trough coincidence and the power of circumstance, it itself becomes a beautiful image of Mr. Panahis situation, and by doing that, it becomes a reflection on any persons situation, a reflection on existence itself. Dealing with society, suppression, creativity, filmmaking, human interaction, kindness and honesty I would find it difficult to explain what the film is actually about. Most of all its much more a poetic journey, than a political statement. If it is a statement its a statement of the humane. I understand why some will be bored watching this small, slow, quiet film. Any viewer will have to put himself in a state of slow enjoyment to really benefit from it. But it is absolutely worth it. To me one of the great achievements Mirtahmasb and Panahi makes here, is the fact that they made me feel, think and reflect more by watching two guys filming each other, than any million budget Hollywood movie has ever done. The self aware style of this film worked like a wake up call for me, making it so much stronger.

If you can relate to topics like: filmmaking, art, inspiration or problems connected to being a living being in the world, I highly recommend this. My best wishes for Mr. Panahi, and congratulations with the achievement.

A late addition to the Cannes 2011 programme after being smuggled into France inside a cake, Iranian director Jafar Panahi's "This is Not a Film" (2011) is by no means your average political documentary. The 75-minute piece, shot partially on an iPhone, captures the day-to-day life of Panahi during a state-imposed house arrest in his Tehran apartment as he appeals a six year prison sentence and 20 year filmmaking ban for his opposition to the 2011 Iranian elections.

Here in the Western world, our access to information, democratic governments, and human rights are taken for granted. Panahi and Mirtahmasb are putting their lives on the line to tell the stories they feel they must tell, in the hope that, one day, their nation will be able to have the same sort of pro-democratic freedom as the rest of us. Gripping entertainment. Little by little "This Is Not a Film" leads to a final scene of overwhelming power. Anyone interested in cinema and/or Iran owes it to themselves to become familiar with this "not" film.

I have not seen any of Jafar Panahi's films. I've heard of Crimson Gold through the iconic image on the DVD cover but otherwise I'm not aware of his style. This Is Not A Film would be a great introduction as the filmmaker himself compares how he feels to the characters he created 10 years prior and analyses his own style of filmmaking. As someone who is interested in making films, this is a really fascinating documentary. Essentially a home video turned into a film, where its shown in the film itself when they decided to turn it into a film, it unintentionally breaks down storytelling and storytelling methods as Panahi demonstrates a film idea he has in a pitch like process to the point where he questions why we even need the medium of film. The raw emotion in this doc is compelling despite the fact not a lot happens within its 77 minute running time. In the end, you come to know Panahi and his culture more intimately and it's fascinating how his unintentional documentary style is similar to his fiction filmmaking style, especially with an ending that makes your heart skip a beat. I'll contradict the title, this is one hell of a film.

8/10