Thursday, November 26, 2015

Taxi Tehran – if the film on the life and death – Radio Sweden

At the end of 2010, the acclaimed Iranian director Jafar Panahi total occupational ban of the Iranian authorities. But the film comes out of his hands anyway. In “Taxi Tehran” run director through the city streets and meet its people, life and films. Jenny Teleman stepped into a completely gray taxi.

It went round and round, round and picked up people, one would to a hospital, a man who had almost died and wanted to record his will on the cell phone, important that to have such a thing in the picture, otherwise, all the brothers and the wife no. There was bleeding on the forehead of the man.

And so it was a friend who got on, he had anxiety over images of a surveillance camera. In the film, he was beaten but what made him sweat cold and locked was that he had not avenged, or called the police, but let everything be, despite the anger pulsed like a little swollen, stressed rat behind his tranquil brow. The money that the robbers had had them get back on their feet. He did not want to ruin their new lives.

We drink orange, cold vegetable drink while he lågtonat presenting their history and their lump in his stomach. Or, it’s not just us, I sit a little outside and see the movie Taxi Tehran and inside the car is the Iranian filmmaker Jafar Panahi. For years, he was banned from making films but do it anyway. His last two, “This is not a movie” and “Closed Curtain” has been secretly in his apartment, but now he steps then into a taxi and rolls out on the streets of Tehran.

He is a really bad taxi driver. Forget to charge, for in and out of the car pops up people in the strange, socially secret dance that seems to be life on the streets of Tehran. Up and down scrolls the window when the vendor sells black hollywood DVDs and European independent film that would be dope.

He does not do much, it mildly bligande Jafar Panahi. Just let many, many supporting roles have their life-and-death circumstances, to various small-recorded snippets of toads, the phones and the black-bought discs. For the show filmmaker’s own peculiar position of being a human that may not filming but filming nonetheless because it makes it just simply.

The finest pass goes to the artists. In the rear end up directing a dependent student. He goes to college. He has problems. I want to make a film, he says, but I can find no story.

He should probably see this.


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